Cosplaying Anna Valerious from Van Helsing
Anna Valerious - Van Helsing
This costume was made for the Armageddon Convention's Cosplay event of October 2006, and won the 'Best Skit' award.
Below is the tutorial for how I constructed this costume.
Larger versions of the photos can be found in the gallery!
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About Anna Valerious - "I hope you have a heart, Aleera, because someday I'm going to drive a stake through it."
Anna Valerious was played by Kate Beckinsale in the film Van Helsing. She was a gypsy Princess with a family curse, a vampire hunter, and the love interest of the title character.
Van Helsing was directed by Stephen Sommers, best known for 'The Mummy' and 'The Mummy Returns'
The Story of Van Helsing:Deep in the mountains of nineteenth-century Carpathia lies the mysterious and mythic land of Transylvania, a world where evil is ever-present, where danger rises as the sun sets, and where monsters such as Count Dracula, the Wolf Man, and Frankenstein's Monster take form and inhabit man's deepest nightmares -- terrifying legends who outlive generations, defying repeated attacks from the doomed brave souls that challenge them in their never-ending war upon the human race.
On order of a secret society, only a lone force of good stands against them -- the legendary monster hunter Van Helsing, a man revered by some and feared by many. In his ongoing battle to rid the earth of these fiendish beings, Van Helsing must now travel to Transylvania to bring down the lethally seductive, enigmatically powerful Count Dracula, and joins forces with the fearless Anna Valerious, a woman out to rid her family of a generations-old curse by defeating the vampire. But unknown to all, the immortal Dracula will stop at nothing to unleash his master plan of subverting human civilization and ruling over a world of havoc, fear, and darkness...
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Steps in the Anna Valerious Cosplay
This costume is divided up into 8 parts:
- Riding Boots,
Pattern Making for Fashion Design
This book is such a source of inspiration and tells you everything you need to know about pattern creation and manipulation. I highly recommend it for anyone interested in drafting their own patterns.
Making the blouse
This took more time than the rest of the costume put together to make. This is because of the massive paint-job I ended up having to do on the sleeves and front part of this piece which took 62 (yes, 62) hours to do. I had made a dress with a ruffled peasant collar earlier on in the year, and I was able to use this pattern as a base for this blouse. There were just a few slight adjustments I had to do, such as work a triangular cut in the very front of the collar, and widen the sleeves.
I decided to make the costume blouse out of ivory coloured cotton, as pure white didn't come off as peasant-like. I found the perfect fabric in 'The Fabric Barn', and although it was a little excessive in price, was the only thing I found which would be suitable, as it was the right colour, thickness, and had an appealing texture to it.
I first cut out the patterns for all the pieces, and painted the motif pattern onto the 2 sleeves, and the front part of the blouse pieces. I made a triangular cut into the centre of what would be the collar for the front of the blouse.
It took a long time to figure out the pattern for the motifs, as there are three variations used by Anna throughout the movie, all a little different. I settled on the version with semi-wide spaced 'flowers', with a triangular-patterned strip separating the rows.
I originally planned on painting the motif onto a separate piece of fabric which would then be sewn directly onto the sleeve, but in my experiments this made the sleeves look funny, so I had no choice but to paint directly on to the sleeves. Everything was ruled up on the fabric with pencil, and then painted over by hand. The paint I used was by the French company 'Pebeo', and I used their Setacolor Opaque, in colour 50: Cherry Red. The total time it took to paint the necessary parts of the blouse worked out to be 62 hours. Needless to say, I was very happy when I'd finished.
With the pieces all ready, I could begin sewing them all together. It was easy enough to do this, beginning with sewing the front and back pieces, and then attaching the sleeves.
After that, I overlocked the entire collar, and then rolled this over so the overlocking couldn't be seen and stitched it in place. Measuring down about 1.5 cm I attached ivory-coloured bias-binding right around the collar. When stitching these rows around the collar, I used a red cotton for the bobbin and ivory-coloured cotton for the upper stitching. This way, the red is seen on the outside of the blouse, while the ivory makes it virtually invisible on the inside of the collar.
With the collar stitching all done, I made a small facing for the triangular cut in the collar, but was careful to leave a space where it crosses over the bias-binding so the elastic can be threaded through later. The facing was turned over and stitched down.
When that was done, I was able to thread the elastic through. I did this by attaching a small safety-pin to the end of the elastic strip, and threaded this between the space in the facing and into the bias-binding right around the collar. Once it was threaded right through, I put the blouse on and gathered the collar over the elastic until I got it gathered how I wanted. The ends were snipped off, and I hand-sewed the facing down over the elastic's ends, closing off the end of the bias-binding.
The ends of the two sleeves were overlocked, rolled, and stitched, but using ivory cotton for both sides. While stitching the hem, once I got to the very front of the sleeves I threaded two small red tassels though, and continued sewing around.
To make the tassels, I got two skeins of red embroidery thread (Mouline Special: 321). To start off, I got a piece of card roughly 6cm wide. I wound the thread around it 7 times for the collar tassels, and 5 times for the sleeve tassels. Since the sleeve tassels hang in pairs, I didn't want them to have quite as much volume as the collar ones.
Once I had the thread sorted, I took a short piece of the thread, and tied a knot where the top of the tassels will be. This held the tassel together. I then got a pair of scissors and cut the loops out of the bottom of the tassel. When that was done, I took another longer piece of the thread (about twice as long as the current tassel length), and tied a knot in the centre of this which I slipped over the end of the tassel, and fastened it completely about 5mm down from the previous knot. Because of the position of this new knot, one of the ends hung straight down with the other strands, while the other end was looped and pulled down through the centre of the tassel.
This process was used for all 6 tassels.
As the collar tassels hang from a long thread, I cut 2 pieces of thread about 30cm long. One end was knotted around the end of the tassels, and the other ends were threaded into the collar blouse at the point I wanted them hanging from. Once I had determined how long I wanted them to be, I knotted the ends with a large knot so it would not pull back through the collar.
Dracula - by Bram Stoker
Dracula, the classic vampire story that shaped the nightmares of generations.
Cue evil laugh.
Written in 1897 by Bram Stoker (who was Irish, incidentally), this book is probably the most influential on how we perceive vampires today. From the dark and dreary Translyvania, with it's terrfiying three brides, to a now-vampire stalked London, and its damsels in distress, Dracula is a story written in shadows, and ancient terrors... and some good old fashioned detective work.
Dracula is one of the few horror books to be honored by inclusion in the Norton Critical Edition series. (The others are Frankenstein, The Turn of the Screw, Heart of Darkness, The Picture of Dorian Gray, and The Metamorphosis.) This 100th-anniversary edition includes not only the complete authoritative text of the novel with illuminating footnotes, but also four contextual essays, five reviews from the time of publication, five articles on dramatic and film variations, and seven selections from literary and academic criticism. Nina Auerbach of the University of Pennsylvania (author of Our Vampires, Ourselves) and horror scholar David J. Skal (author of Hollywood Gothic, The Monster Show, and Screams of Reason) are the editors of the volume. Especially fascinating are excerpts from materials that Bram Stoker consulted in his research for the book, and his working papers over the several years he was composing it. The selection of criticism includes essays on how Dracula deals with female sexuality, gender inversion, homoerotic elements, and Victorian fears of "reverse colonization" by politically turbulent Transylvania.
I made my own pattern for the jacket by laying newspaper over a jacket I already had. This pattern was used to make a prototype jacket out of scrap fabric. I had to come up with the pattern for the sleeves myself as the sleeves have large splits from the elbow. I also had to design the pattern much shorter than the original, since the jacket is bolero-style. It took a while and a lot of experimentation to find a pattern I liked, but I succeeded, and then it was off to the fabric store!
I found a beautiful velvety-textured burgundy-coloured fabric in Spotlight, which was absolutely perfect. I bought some matching satin lining to go on the inside of the jacket. For the decorations, I got 3 metres of red piping, and about 10 metres of gold cord (for the embroidered pattern).
I began constructing the jacket by cutting all the pieces out (the front, back, and 2 sleeves). The front and back were stitched together, and with that done I turned it inside-out and carefully traced the pattern that would later be in gold around the collar and edges in pen. To do this, I drew out the pattern on a piece of baking-paper, and used this as a stencil to draw the pattern onto the fabric. When the pattern had been drawn on, I couched over the outside of it using the gold cord, and gold thread. This took quite a while to do (roughly 10 hours).
As there is no clear shot of the back-of-the-neck detail in the entire movie (The hair is always in the way), I decided to just come up with my own pattern. I thought about Anna living in Transylvania and there being vampires everywhere, and then it occurred to me to put a cross motif in there. This was very tricky to do, as the cord wasn't too happy about being couched with so many sharp corners.
With that done, I pinned the sleeves to the shoulders, and stood in front of the mirror so I could see how far the sleeves come down and how far I would have to take the split in the front of them. Once I'd figured out how far up I wanted it, I made the cut in the two sleeves.
After looking through a few more pictures of Anna, I discovered that she has a small gap underneath each sleeve where the sleeves should be joining the rest of the jacket. After experimenting around, I found that those are there for good reason - they help stop the jacket from pulling up, and make moving the arms easier. In order to get this done, I folded over the inside lower edge of the sleeves and stitched this down for about 10 cm up each side from the seam, and also folded over and repeated the action for the under-sleeve part of the jacket.
I matched up the sleeves to the arm-holes, and stitched around the arm-holes being careful to leave a large enough gap in the under-arms. It was a nightmare getting the sleeves to attach without puckering at the shoulders, and I was actually considering starting the whole thing over with a store-bought pattern, but on the final attempt, the sleeves matched up. Thank goodness for that.
The front of the jacket now seemed a little bunchy, so I countered this by putting a dart in each side.
Now that the sleeves were properly attached, I was able to couch the gold pattern around the edges of the sleeves, using the stencils again (2 stencils were used - one for the wave motif, and another for the 'curvy arrows')
With the sewing for the outer layer of the jacket done, I could begin on the lining. The pieces for this had to be cut out slightly differently to the corresponding outer velvet pieces (the back piece was made wider and longer, and the sleeves were also made a little longer). This is so that when the lining is attached to the velvet there will be movement allowance on the inside, and it will also prevent the lining from tearing at the seams when the jacket is moved around.
At this stage, I could begin putting the piping on. I had to use the zip-foot on the sewing machine for this. Beginning at one of the side-seams, I threaded the piping through the seam and in one continuous strip going right around the back, up the front, around the collar, and back down to the starting point at the side-seam where the end was tucked back down inside the seam. This method was also used for the sleeves - beginning from a seam, the piping was threaded through, and stitched right along the line I wanted it to follow, and back into the seam.
Now I could begin putting the lining on.started attaching it by placing the lining face-down over the top of the velvet. I stitched it around the sides and up around the collar. I had left the bottom hem untouched so I can turn the jacket in the right way afterwards. I matched up the lining-sleeves to the piping, and stitched this down in place, again keeping as close to the piping as possible. I ended up having to do a little hand-sewing for the sharp point on the inside of the elbows. It took a couple of attempts to get the lining attached without being bunchy inside the sleeves.
Turning the entire jacket inside-out, I stitched about 20cm along the bottom hem. The jacket was then turned out the right way, and the centre of the hems were folded over together and I carefully stitched along them, keeping them as close to the piping as possible. As the lining is wider than the velvet, I made a small pleat in the centre of the back of the hem.
Using the regular foot on the sewing machine again, I matched up the underarm splits and stitched them together. The corners had to be hand-sewn, as it was rather awkward trying to do such a sharp corner on the dart-seams.
The piping in the very front of the jacket kept being tucked under by the velvet, so I did a row of stitching right around this part to help hold the piping facing outwards.
The jacket was completed!
Bram Stoker's Dracula - The film of the book that began it all.
With dizzying cinematic tricks and astonishing performances, Francis Coppola's 1992 version of the oft-filmed Dracula story is one of the most exuberant, extravagant films of the 1990s. Gary Oldman and Winona Ryder, as the Count and Mina Murray, are quite a pair of star-crossed lovers. She's betrothed to another man; he can't kick the habit of feeding off the living. Anthony Hopkins plays Van Helsing, the vampire slayer, with tongue firmly in cheek. Tom Waits is great fun as Renfield, the hapless slave of Dracula who craves the blood of insects and cats. Sadie Frost is a sexy Lucy Westenra. And poor Keanu Reeves, as Jonathan Harker, has the misfortune to be seduced by Dracula's three half-naked wives. There's a little bit of everything in this version of Dracula: gore, high-speed horseback chases, passion, and longing.
"Here's a mission if there ever was one"
I began preparation for this by looking through various sewing pattern catalogues, and decided upon New Look: 6480 to use. I used this pattern to make a corset exactly how the pattern indicated, so I could see what to adjust for Anna's one. Things I discovered I needed to change involved taking a couple of inches off the top of the front; put in two side-strip bands; bring the back down further, and put in extra boning in the back so the piece could be laced up.
There are many studs used in the panels on Anna's corset, so planning on getting some, I went looking in Spotlight. The ones I found were expensive, and had no-where near the number I required in the packets (I needed about 150 and there were maximum 15 in a pack). I found a way around this problem by switching to a bulk stationery product - split fasteners! They were a lifesaver! These fasteners look like thumb-tacks, but the pin part is replaced by two long thin and flat metal strips which are bendable. These came in much cheaper plastic containers of 100, and they proved to be a more budget-friendly solution. I bought a 25cm zip, 3 metres of plastic boning, and 2 metres of cord (for the lacing).
Getting on to putting the corset together, I used the pattern I had altered to cut out corresponding pieces of crepe satin (I chose this type of satin because the crepe gives it a beautiful leathery texture). Identical pieces or cotton lining were cut out, and were stitched together. Before I could stitch the satin pieces together, I had to sort out the ribbons and buckles for the front. It was impossible to find any suitable buckles anywhere, so I had no choice but to make them myself. I did this by carefully cutting he shapes out of a plastic ice-cream container, which were then spray-painted with gold spray-paint. Using 2 metres of burgundy ribbon, I cut 8 short strips which the buckles were threaded on to. I carefully laid out the front panel of satin, and placed the ribbon at regular intervals along it. With all the pieces in place, I stitched them all together. I carefully made a small incision at both ends of the ribbons and pushed a split-pin stud through. I folded the excess from the seams over, and stitched it down about 1cm from the original seam to create channels for the boning to run through later.
At this point, I placed the lining face-down over the satin and joined them with a row of stitching along the top. A second row of stitching was made about 5mm down to help stop the lining shifting up over the satin.
Then it was time to put the studs on
None of the patterns I drew up made it easy to draw the marking for the studs directly on to the fabric, so I had only one option - make the cuts directly into the fabric without a pattern. Using nothing but a tape-measure, I carefully measured out the width and distance to have the studs inserted at. Each point was marked by making a small incision into the satin with a craft knife. A split-pin stud was pushed through, and the end was split through the other side, to secure it in place.
I had to use this process for the 2 side panels, and the 2 back panels.
I'd been thinking about how the corset was going to be done up at the back, and it seems that Anna's one is done up by lacing. Never having done anything with lacing before, I thought it would be easier having a hidden zip which holds the back together, with the lacing over the top for decoration.
I sorted out the zip problem by cutting 2 strips of fabric the same length as the zip. The zip was attached to these pieces, and these pieces were in turn stitched face-down onto the lining (it took a few attempts to get them tight enough. The first few times the pieces were too close making the corset too loose).
The corset was turned inside-out, and the base of the lining was stitched to the satin, but carefully leaving enough space around the channels to thread the boning through later. With the main part of stitching done, I measured out the length of boning strips (they had to be slightly shorter than the channel to help prevent rubbing). When the lengths were determined, the ends were rounded off and the boning was threaded through. I then used the sewing machine to close off the channels. The corset was then turned back the right way. The two open ends were trimmed so they came just short of the zips. The ends were then folded over and were stitched down leaving enough space for another strip of boning to be threaded through. The top and bottom of the new channels were closed off, finishing the work with boning.
At this stage, I could put the grommets in. This was another worrying moment, since as it was impossible to make any marks on the fabric with pen I had no choice but to make the marks with the craft knife again. I carefully measured out the distance the grommets should be from each other, used the tape-measure to make small cuts, made sure the cuts were all the right distance from each other, and then screwed the knife through the cuts making them larger. When all the holes had been made, a grommet was fitted through the hole, and secured in place by using a hammer. That was the main part of the corset done - now it was just a matter of attaching the side-strips. I made these from 2 long thin scraps of the satin, and angled the ends to a triangular shape. These were sewn on beginning in the very front, and going right around to the back of the corset.
The cord for lacing the corset liked to fray, so I wound cotton around the ends to prevent this from happening while trying to thread the corset.
It was completed!
Corset Sewing Patterns
I decided the best way to make these would be to take some high-heeled ankle boots, and make thigh-high boot covers over them. I found the most perfect shoes in Save Mart in New Lynn. These boots were stretch-on, which meant they didn't have zips in the side (which would show up through the boot-covers).
Using an old sheet that I had cut up, I made a plain tube and stretched this on over one of my legs, all the way up my thigh. I used pins to mark where to take the fabric in, so I could make the tube fit around my leg snugly. Getting on to making the proper boots, I found a very nice glossy black stretch-velvet, which would do the job. I used the practice boot-cover's pattern to cut out 2 identical pieces from the velvet. To prevent the edges from overstretching and fraying, I overlocked them. The pieces were folded, and I stitched right up the side of each boot cover. With that done, I overlocked the inside edges, making them tidier. With the base for the boot covers done, I could move on.
There are12 buckled straps that run down the outside of each of Anna's boots, as well as 2 buckles on straps that attach the boots to a belt. Knowing that there was no way I could easily find and afford 26 large identical buckles, I was forced to look for an alternative. I found the perfect item - split rings, which are usually used in key-rings to hang keys off. They came in bags of 10.
I cut out 24 strips of the stretch velvet to make the 'straps'. It was rather difficult sewing a stretch-fabric so it would not stretch.
When all the pieces had been cut out, I pushed a split-ring into the centre of each one. One end of the straps was attached just over the side-seam of the boot cover (the buckles sit over the join in the boots), and the other ends were attached varying distances (between 10 and 3cm past the side seam.
I took a belt which I found in a $3 shop, and measured the width of the belt. I then took a long strap of belting and looped this over the belt, and stitched this in place. I then put one of the boot-covers on while wearing the belt, and was able to measure how far down the strap should reach (The straps coming off the belt hold the boots up). When the correct length was determined, it was cut and stitched on. A smaller strip was cut and attached with one end half-way down the belting, and the other end a little further around the back of the boot cover. A third shorter strip was hung from the point where the two other straps cross over, to look like the straps are looped around each other. A gold split-ring is slipped over this point to give the effect of the straps being looped through a buckle. This process is repeated for the second boot cover.
Anna Valerious - Collectors Figures
Looking through all the fabric stores, stretch-lycra seemed to be very costly. After shopping around in other clothes stores, I discovered a pair of long bike-pants that were on special, and cost less than one metre of the stretch-lycra fabric. Seeing as there is nothing whatsoever distinctive about the pants that Anna wears, I bought them to use. (This was in Shanton in the Waitakere Plaza)
"For me this is all personal. It's all about family and honor. Why do you do it? What do you hope to get out of it? "
Since I was running out of time to make my own sword, I had a look around in various stores to see if there was anything I could use. I found the perfect plastic sword in a store called the 'Costume Shoppe' in Henderson. This sword was virtually perfect. The handle is almost identical to Anna's one, and the handle was coloured gold. It was a little shorter than I wanted, but I doubted there would be any other swords that would be better.
To make the scabbard, I found some extremely thick but cheap fabric in the Fabric Barn. I started off by cutting 2 long thin strips of the fabric that was just slightly longer than the blade of the sword. I made a slightly scalloped facing for the top of each piece (scalloped so it fits up around the handle better). I then selected one of the pieces to be the 'front' of the hilt. I measured down a little from the top, marked out a triangle, cut some small slits with the craft knife, and then inserted 3 split-pin studs into the slits for decoration. I also measured down the end of the scabbard and made slits to insert another 5 studs. Once the studs were in, I realised that the ends of them would scratch the sword's blade. The facings up the top prevented the top studs from touching the blade, but I had to stitch a backing over the lower studs to stop the scratching.
After this, I placed the pieces face-together, and stitched right down one side, and slightly around the end of the blade. I then turned the scabbard out the right way (I couldn't continue up the other side because the fabric is so thick it made it impossible to pull back up through itself, as I found out from my first attempt at the scabbard). When the scabbard was facing the right way, I made sure the end was properly pulled through, then folded over the two raw edges so the edges couldn't be seen, and matching up the sides, stitched from the end point of the sword right up the side to the top end.
This sounds simple enough, but it took about 3 attempts before I got this right. The first time the scbbard was too tight to fit around the blade (and wouldn't turn inside out), and the second attempt looked strange with both edges having the stitching on the outside and this also made the fitting around the handle tighter. I was really glad that the third attempt worked.
Van Helsing - "We Transylvanians always look on the brighter side of death. "
Vampire hunting movie :D
Necklace and Earrings
Necklace: As with the blouse, there are a couple of variations of Anna's necklace throughout the movie. The version I chose is seen most often.
I started out with a Cross pendant, which I already owned. Looking in the beads section of Spotlight, I found a packet of silver diamond shaped beads which would go perfectly. I got a piece of necklace cord, and threaded the pendant on. I then threaded 2 of the beads on each side of it. The beads were carefully spaced out evenly; then I used crimping beads to hold them in place.
To finish off the necklace, I tied the ends with a slipknot, so I can adjust the length once I put it on.
Earrings: Even though Anna's hair is almost always in the way of her ears and it is near impossible to find a good picture of them. There are some bright yellow earrings which are worn at the beginning of the movie, but with a different outfit. I decided to use some similar earrings, but with a colour that would go with the rest of the costume - red. As it turned out, my grandmother had given me some antiqued-looking drop earrings with red diamantes last Christmas, which proved to go perfectly with this costume.
Eyes and Lips
Eyes: I used a dark olive-green eyeshadow, with black eyeliner, and black mascara on the upper and lower eyelashes.
Lips: I always enjoy trying to match lipstick colours to characters I cosplay as. Anna's lipstick is a plum-tone, which I achieved through staining my lips with bright red lipstick, then going over with a bronze glossy lipstick, and then finally over the top of that with a purple lipstick.
"Oh, my God! The Frankenstein Monster! "
After having my hair long and various shades of red during the year, I decided to be a little daring and put a much darker brown temporary colour through it. I used 'Wella Softcolour', in Dark Brown.
To make my hair floof up, I run a volumiser into it after it has been towel dried. I then blow-dry it upside down, scrunching as I go to create extra volume. When it is dry, I spray it with a different volumiser scrunch it up and pin it in a bun on top of my head. After waiting an hour or so, I let it down and give it a blast of hair-spray. The volumisers make my hair floof out, and the hair-spray helps it to stay that way, however, my hair is naturally very straight and doesn't like holding a style, so I will have to keep applying hairspray throughout the day to slow down the deflation process
"Don't let it touch your tongue... it'll knock you straight on your aaaaaa... "
I spent a while listening to Anna's voice, and looked up information about Slavic linguistics (being a Linguistics student at University was a big help for this research!)As Transylvania is a province of Romania, I looked up information about Romanian phonology (pronunciation). After learning how to speak with a Romanian accent, I went back to listening to Anna, and was shocked that she wasn't using all the right sounds (There is no 'th' or 'w' sound in Romanian, yet Anna was using them). It took a bit to get out of the habit of changing these sounds back to their English pronunciations. One sound which remained different was the 'R' sound, which is tapped, or rolled. It was a lot of fun practicing and talking like Anna, especially with this rolled 'R' sound!
Van Helsing Soundtrack - Won Best Music in the 31st Annual Saturn Awards
Bram Stoker's original literary Van Helsing dispatched his nemeses-of-the-night with but a crucifix, a few simple wooden stakes, and a dash of garlic. But this CGI-driven, 21st century Hollywood take on the vampire hunter is bigger, bolder, and, judging from veteran Alan Silvestri's thunderous, goth-on-steroids orchestral score, definitely more bombastic. Courtesy of director/big-budget monster revivalist Stephen Sommers (The Mummy, Mummy Returns, The Scoropin King), Hugh Jackman's title character now faces off against Dracula, Frankenstein's monster, a giant werewolf, and Mr. Hyde. With an appropriate lack of subtlety, Silvestri seasons the action set pieces with some gloomy, Herrmann-esque brass, jolting doses of massed percussion, the occasional shrieking choral homage to Carmina Burana--and (for some ears) precious too little of Franz Waxman's haunting, neo-Romantic horror-film lyricism. But then, overwrought popcorn epics call for overwrought popcorn scores, and the bold, epic scale of Silvestri's music can't be denied; it has as much alternately jolting/nervous energy as a double-dose of caffeine. Enhanced CD features include an interactive game trailer, game playing clues, a photo gallery, and preview of a comic book merchandising tie-in. --Jerry McCulley
Van Helsing Books and DVDs - "And then the Devil gave him wings."
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