There’s a scene early on in Draculina where our title character is soaring above a highway with an axe and a barely-there outfit that defies gravity. After crashing into a car, she murders the driver with said axe, steals an amulet off a passenger, and bites the neck of the passenger’s wife before flying away as the car appears to somehow explode. If that seems confusing, that pretty much sums up my experience with the entire issue.

Spinning out of writer Christopher Priest’s runs on Vampirella and Sacred Six, this new series features Lilith, a rich socialite, who also happens to be the long-lost sister of Vampirella. While both ladies share a sense of unabashedly shameless fashion and a penchant for blood, Draculina is very much the antithesis to her sister when it comes to her morals. Her evil nature is kept in check by being tethered to the precocious Katie, a homeless teen whose soul is linked with Lilith’s. Think Shazam but darker, sexier, and creepier. Like, way creepier.

Reading Draculina is not unlike watching a David Lynch film. It’s very pretty to look at, but it’s not always easy to know what we’re looking at. The art by Michael Sta. Maria and Ivan Nunes is fantastic, with some absolutely beautiful character work and stunning set pieces. Draculina is a stunning creature herself, and despite her gratuitous get-up, she’s a beauty to behold. Her unwitting alter-ego fares a bit differently as Katie’s first appearance is awkward in multiple ways. Sprawled out on top of a hotel bed, the 13-year-old’s arms and head seem wildly out of proportion, to say nothing about the fact that she’s depicted as sleeping next to a dead guy. A naked, dead guy. Like I said, it’s creepy.

While this book seems dependent on familiarity with the writer’s earlier works in the Vampi-verse, he provides just enough clues and exposition to help new readers kind of figure out what’s happening. Fans of Priest’s signature style–starting off each scene with a new title card–will be glad to know he uses it here, although it doesn’t serve much purpose and is frankly more of an annoyance than anything. The dialogue and pacing of the story are handled much better than the style aspects, although the dark humor is sparse enough to seem almost out-of-place with the otherwise serious tone.