American Vampire Anthology #1

Written by Scott Snyder, Jason Aaron, Rafael Albuquerque, Jeff Lemire, Becky Cloonan, Francesco Francavilla, Gail Simone, Gabriel Bá, Fábio Moon, and Greg Rucka
Art by Rafael Albuquerque, Declan Shalvey, Ivo Milazzo, Ray Fawkes, Becky Cloonan, Francesco Francavilla, Tula Lotay, Gabriel Bá, Fábio Moon, and John Paul Leon

When American Vampire first started a few years ago, despite its coming out in the middle of the vampire-related glut of the post-Twilight world, it really stood out as a well-considered, and excellently-executed new approach to the genre.  I liked how Scott Snyder (and early collaborator, Stephen King) grounded the vampire, and other mythological creatures, in biology and history.  There was a strong emphasis on character, and under Rafael Albuquerque's pencil, the book looked terrific.

As the series continued, as new characters were added to the mix, and as spin-off mini-series became more exciting than the main title, I felt that things needed a bit of a shakeup to keep my interests.  I wasn't all that upset when I learned that the series was going on hiatus for a while, as I was considering dropping it.

Now, though Snyder and Albuquerque have headlined this anthology, which has gotten me excited about the property again.  First off, just look at the talent involved in this book, with names like Cloonan, Bá, Moon, Lemire, Francavilla, Rucka and Leon showing up on the cover.  In their numerous short stories, many of which were too short, they explored other aspects of this world, and I loved it.

Jeff Lemire and Ray Fawkes took us up to James Bay to see what the Canadian Vampire would look like, while Jason Aaron and Declan Shalvey revisited the early colonial days of the United States in a similar tale.  Regular series artist Albuquerque writes a story about a small town in Kansas, which is painted by the very interesting Ivo Milazzo.

Some of the stories feature characters we've met before, as in Gail Simone and Tula Lotay's 'Hattie' tale, and in Becky Cloonan's exploration of why Skinner Sweet came to Hollywood.  Skinner shows up in Greg Rucka and John Paul Leon's story too, which explains what happened to him after Las Vegas, back in the second or third arc of the series.

Francesco Francavilla looks at the vampires' influence in Hollywood, while Gabriel Bá and Fábio Moon take us into a seedy nightclub.

This is a very nice looking book, which has managed to whet my appetite some for the return of the series, which is what it's supposed to do I guess.

American Vampire #34

Written by Scott Snyder
Art by Rafael Albuquerque

When I heard that American Vampire was going to be going on hiatus following this issue, it didn't bother me one bit.  I'd really enjoyed the early days of this Vertigo series, but I'd felt that it was starting to lose its way a little bit, amid the spin-off mini-series, the arcs that introduced new characters who were never seen again, and the general decompression of the last story arc, which was wrapping up the arcs for many of the main characters.  I'd also felt that the book had kind of lost the edge that made it Vertigo in the first place.  I wasn't surprised by that - since this book debuted, writer Scott Snyder has become a bit of a golden boy at DC, and I wondered if among all his New 52 projects, he still had time for this title.

Then I read this issue, which I expected to be an epilogue, and now I really want more.  Where the last ten issues have felt a little bloated, this one is lean, mysterious, and dark, just like the early days of this series.  Gene Bunting, the new Bookkeeper for the Vassals of the Morning Star (the vampire- and monster-hunting organization that has featured prominently in this title) has travelled out to the middle of nowhere to find Abilena Book, the mother of Felicia Book, the new director of the VMS.  He believes that Abilena has some limited prophetic abilities, and he wants her to peer into the future to discover if the VMS needs to be concerned about someone called The Gray Trader.

It's been ages since we've seen Book in this series, and Bunting is a new character, but Snyder manages to develop them both very well in a short amount of space.  He also establishes this new threat very effectively, and reveals another secret about Book right at the very end that can be open to a few different interpretations.

Albuquerque has always done a wonderful job on this title, and this issue is no exception.  He also seems a little reinvigorated by the prospect of a new, darker storyline.  It's very nice to see that this book is getting back on track, and now I hope that the hiatus is not going to be a very long one.

Outlaw Territory Volume 2

Edited by Michael Woods

Reading through this anthology of western comics, I started to wonder if such a thing could have ever existed were it not for the HBO show Deadwood, which treated cursing as Shakespearean oration, but also made it okay to portray the Old West in terms of gender, race and class.

Anyway, as with any anthology of this size (almost 250 pages), there is a lot of variety when it comes to quality in this book.  Some of the better pieces belonged to Rich Johnston and Tom Fowler, who started the book off on an amusing note; Michael Woods and Rafael Albuquerque; Jeremy Barlow and Dustin Weaver (whose art is incredible, and very European); A. Freeman, M. Bernardin, and D. Lafrance; John Whalen and Werther Dell'Edera; Josh Wagner and Jose Jaro (whose art I though belonged to Skullkicker's Edwin Huang at first, it's so similar); Robert Kirkman and Shaun O'Neil; Joshua Hale Fialkov and Jeff Lemire (that's an interesting creative team); Christian Beranek and Vivian Lee (exploring the contributions of Chinese workers to the railroads); Francesco Francavilla (probably the prettiest story in this book); Moritat (with what I assume is a tribute to Moebius's Lt. Blueberry comics, as the protagonist's name is J. Giraud); and Joshua Dysart and Paul Azaceta.

One reason why I enjoy these types of books is because they invariably expose me to an artist whose work I've never seen before.  There are a few people I'd like to see more from, including Rick Lacy, Jorge Coelho, Connor Willumsen (who has a bit of a Paul Pope thing going on), and Diego Tripoli.

In all, this is a successful anthology.  

American Vampire #29

Written by Scott Snyder
Art by Rafael Albuquerque

It becomes very difficult, month after month, to find something new to say about a title that is consistently well-written and has great art.

In this issue of American Vampire, Pearl and Skinner Sweet, newly teamed-up and working for the Vassals of the Morning Star, begin investigating the Hollywood wealthy as potential harbourers of vampires.  Of course, they hit paydirt at their first mansion, although that leads to gunfights and attacks by jungle cats.  Pearl is looking to figure out just who it was that assaulted her husband Henry, but she can't quite figure out why Skinner is working for the VMSs. 

I like the way that Snyder has always had his stories reflect the various time periods they are set in, as we've moved forward through the 20th century.  Just as the VMS is looking for hidden vampires among the Hollywood elite, the HUAC is looking for communists or communist connections in the same moneyed corridors.

The relationship between Pearl and Skinner has always been difficult, and having them work together should lead to some good stories.

American Vampire #28

Written by Scott Snyder
Art by Rafael Albuquerque

It feels like American Vampire has returned to its core with the beginning of the new story arc, The Blacklist.  It's been a while since the three main characters of this series - Pearl, Henry, and Skinner Sweet - have been in the same issue (I think not since their little Pacific WWII adventure), and it's good to see them all back together again, even if Henry spends the whole issue in a coma.

A couple of issues ago we saw that Henry had been attacked.  This issue opens with Pearl dispatching his attacker, before she and family friend (and fellow American Vamp) Calvin are attacked at Henry's bedside.  This leads to a visit to the Vassals of the Morning Star (a vampire-hunting organization), and the knowledge that a group of vampires are being protected and hidden by the Hollywood elite.

This story is set against the Senate hearings into Communist sympathizers in Hollywood, and Scott Snyder uses that atmosphere of fear and paranoia to provide his antagonists shelter.  Pearl and Skinner are going to be hunting these vampires down, and as this arc is set to last six issues, we can guess that there are going to be lots of vampires to find.

Rafael Albuquerque returns to the art duties on this title with this issue, so everything looks spectacular.

American Vampire #25

Written by Scott Snyder
Art by Rafael Albuquerque

The 'Death Race' arc finishes off this issue with a few surprises.  For the last three issues, we've watched as Travis Kidd, a new character to the series, has been hunting the vampire who was responsible for the death of his family - our old friend Skinner Sweet.  Kidd's whole story, but for the fateful night when his family was killed, was shown to us in flashback while he and Sweet engaged in a lengthy race across the California desert in '50s cars.

In this issue, Travis and Skinner confront each other face to face, and we learn that Travis is much more resourceful than we were otherwise led to believe, finding new uses for the gold that is so poisonous to Sweet.  That's not the end of the surprises though, as Hobbes, the leader of the vampire-hunting organization shows up before the fight is over.  Also, at the end of the issue, we get to catch up a little with Henry and Pearl, who are more or less the main characters of this comic, even though we often go months without seeing them.

American Vampire is always a good read, and this issue is no exception.  Rafael Albuquerque's art continues to impress and surprise with each and every issue.

American Vampire #24

Written by Scott Snyder
Art by Rafael Albuquerque

The third, and penultimate chapter in the 'Death Race' arc is a pretty quick read, compared to other issues of American Vampire.  In some ways that makes sense - the entire issue is built around a car chase across the desert, but I think it needed a slightly more compressed story this month.

Travis Kidd, the teenage vampire slayer is continuing his pursuit of Skinner Sweet, the vampire who killed his parents.  As their chase, which involves jumping from one vehicle to another (which happens to be on fire), and taking flying leaps over rocks, unfolds, we get to see more of Travis's childhood in an insane asylum, where he has been subjected to electroshock therapy and lectures on the dangers of 'race music'.  When he escapes, with the help of a familiar face, he quickly turns the tables on his rescuer, in a way that helps Snyder establish just what Travis is about.

We still don't know the story of how Sweet killed his family, but I presume that is coming next month.  As always, Rafael Albuquerque does an excellent job on the art, as one of the best Vertigo series just keeps ticking along.

American Vampire #23

Written by Scott Snyder
Art by Rafael Albuquerque

I hope that all the people who are going on and on about how Scott Snyder's Batman and Swamp Thing are two of the best books coming out of DC since their relaunch are checking out American Vampire, his first on-going series.  It is similar to those two other series in that Snyder is providing fast-moving, character-driven stories that keep the reader's attention riveted to the page.

This issue continues the Death Race arc, and continues the chase across the California desert in classic cars of a vampire (soon to be revealed to be an old friend) by Travis Kidd, the teenage vampire hunter we were introduced to last month.

As the chase continues, we are treated to a series of flashbacks which help further introduce and explain Travis.  His time in a sanatorium was commented on last issue, but now we get to see a little of his experiences there, brought on by his insistence that his parents were killed by vampires.

Travis is an interesting character.  He's definitely driven, forsaking the potential of teenage love for his revenge.  But then, when his girlfriend turns up in the trunk of the car he's pursuing, he does take a few extra risks to save her, which shows that he's not entirely thoughtless.

As always, Rafael Albuquerque's work on this title is phenomenal.  He handles the excitement of the desert chase particularly well.

American Vampire #22

Written by Scott Snyder
Art by Rafael Albuquerque

It's great to see Rafael Albuquerque back on American Vampire.  I enjoyed Jordi Bernet's recent work on the title, but Albuquerque is the artist who caused this book to catch my eye in the first place, and things feel right when he's working on it.

With this new arc, 'Death Race', we move into the 1950s, and we meet Travis Kidd, a young and unaffiliated vampire hunter.  We don't learn a whole lot about him, except that he's hunting for the vampire who ruined his life (sounds like Mike Mignola's Baltimore), and takes out any other vampires he comes across in his search.  He has some sort of prior dealings with the Vassals, the vampire-hunting group who we often see in this title and its spin-off, and in this issue, Agent Hobbes (looking a lot like Agent Graves from 100 Bullets) tries to get him to join up with them again.

This issue starts off with an excellent sequence involving Travis's girlfriend and her parents, and it also embraces the teenage 50s, with leather jackets and drag racing in the desert.  Scott Snyder has done a wonderful job of capturing the anxieties and concerns of each era he's set his story in, and that continues to be the case here.

Albuquerque's work is, of course, wonderful.  I look forward to learning how this story ties in with Skinner Sweet's, or with Pearl and Henry's. 

American Vampire #18

Written by Scott Snyder
Art by Rafael Albuquerque

I do so enjoy this series.  This World War II story, set on a fictional island in the Pacific, has worked really well to explore the relationship between Pearl and Henry, as Skinner Sweet has used the chaos of the war to make a move against the man that he apparently sees as his rival.

Most of the plot of this arc falls away in this issue, as the focus is squarely on the conflict between the two American vampires, and Henry.  I was a little surprised at the depth of Pearl's feelings for Skinner - I'm not sure that we've seen enough evidence of that before now - but I also found it pretty interesting, especially as something is going to pop up again.

I also found the last page of the story to be pretty interesting.  As the Vertigo line contracts (DMZ, Northlanders, and Scalped are all finishing in the next year), this book stands as a good example of why DC should continue to invest in the imprint.

American Vampire #17

Written by Scott Snyder
Art by Rafael Albuquerque

Scott Snyder is a master of pacing.  This issue, which is the penultimate in the 'Ghost War' arc, is packed with action, but also manages to bring us back to the beginning of the arc, which started with Henry writing a letter to his wife.

In this issue, we learn what the Japanese have planned for the vampires they have captured on the island of Taipan, and see the fruits of the uneasy alliance between Henry's Vassals of the Morningstar unit and Skinner Sweet.

This is a very cool issue, as Albuquerque pulls out all the stops to give us an impressive and exciting visual experience, enhanced by Dave McCaig's great colours.  I'm not sure why this is, but I find that the colours in this week's comics are really standing out (see Butcher Baker below).  As always, great stuff.

American Vampire #16

Written by Scott Snyder
Art by Rafael Albuquerque

This current arc, Ghost War, set during the Second World War, has been great.  Henry, Pearl's husband, has joined a group of soldiers from the Vassals of the Morning Star on a mission to Taipan to investigate reports of indigenous vampires.  Now the unit has been captured by the Japanese, and are being used as part of a strange experiment.

Skinner Sweet, the vampire that turned Pearl, has tagged along with the group, disguised as a normal soldier.  As it turns out, Henry has seen through his subterfuge, and proposes using Skinner to help them effect their escape.  While this is going on, Pearl has arrived on Taipan herself, looking to warn Henry of Skinner's presence.

This arc is tightly plotted, and Snyder is doing a fine job of using the Vassals to help propel the story.  I like how, even as they are being killed off, their characters are being developed, making them seem like they are not the cannon fodder I first assumed they would be.

Take Snyder's fine writing (this guy can do no wrong these days, prompting me to be excited about the Swamp Thing relaunch) and add to it Albuquerque's amazing art, and there is no wondering why I am enjoying this book so much.  Great stuff.

American Vampire #15

Written by Scott Snyder
Art by Rafael Albuquerque

It's becoming hard to find new ways to praise this comic, as it is so consistently impressive.  We're in the middle of an arc (always the hardest time to review a comic) set during the Second World War.  Henry has traveled to Taipan with a squad of vampire hunters which is now under attack from a group of local vampires that are faster and more vicious than any type they've ever seen before.

They learn that the Japanese have built something strange on the island, but the locals don't know what it is - only that it's horrible.  What Henry and his compatriots don't know though, is that Skinner Sweet is with them, posing as a normal American soldier.  While all this is going on, Pearl is rushing to Taipan to try to alert Henry of Skinner's presence.

This issue flew past pretty quickly, but was still very satisfying.  As with every issue he's done on this book, Albuquerque's work is amazing.

American Vampire #14

Written by Scott Snyder
Art by Rafael Albuquerque

I really like this comic.  I am getting to the point where it is becoming difficult to keep praising it, as I'm kind of running out of things to say with each new issue (also known as the Scalped Conundrum).

And so, a brief synopsis:  Henry, the human husband to American Vampire Pearl has left on a mission for the Vassals of the Morning Star.  He is tasked with hunting down a nest of vampires on the island of Taipan, in an effort to protect American forces that are there to fight the Japanese.  Snyder uses much of the issue to build up some of the characters in Henry's unit, particularly 'The Vicar', the leader of the group.  Now, Skinner Sweet, the original American Vampire has shown up on the island, although Henry has never met him face to face, and doesn't realize he's in danger.

Meanwhile, Stateside, Pearl figures out that Skinner is endangering the mission, and is making plans to try to rescue Henry.

As usual, this book looks as good as it reads, with continued amazing work by Albuquerque.  It's also important to point out the colours of Dave McCaig, who has set Taipan in an eternal twilight that is quite haunting.

American Vampire #13

Written by Scott Snyder
Art by Rafael Albuquerque

The first thing I noticed when I picked up this new issue, which is the first part of the 'Ghost War' arc was that artist Rafael Albuquerque was back, which made me very happy.  He has done a phenomenal job on this title, and it's nice to see him return to these characters.

Since it began, American Vampire has been moving forward through the 20th century, and this new story jumps us up to the Second World War, and returns the book's focus to Pearl and her husband Henry.  They've been living in hiding since we last saw them, but with the war underway, they've felt the need to get involved in the world.  Pearl is working as a nurse, and Henry signed up, although he was considered too old to be sent to the war.

Now though, the Vassals of the Morning Star have a task for him to perform in Taipan, and he jumps at the chance to do his duty.  The fact that the Vassals are involved means that there are vampires in Taipan, which is shown in the framing sequence.  This looks to be a pretty interesting arc.

What makes this issue work though, is not the plotting, but the touching relationship between Henry and Pearl.  He is getting older, but she is not, and as that disparity grows, so does their love for each other.  Snyder is really proving himself these days (read this week's issue of Detective Comics!), and Albuquerque is at the top of his game.  This is a great comic.

American Vampire #9

 Written by Scott Snyder
Art by Rafael Albuquerque and Mateus Santolouco

With this issue, the second story arc, 'Devil in the Sand' comes to its conclusion, and Snyder continues to give us a very interesting story.  This arc has been centred on Cashel, the sheriff of Las Vegas at the time of the construction of the Hoover Dam.  He's been promoted after the death of his father, and is presiding over a town that has been unable to keep up with the pace of its own progress.  There were problems even before the vampires started showing up.

This issue explains everything that has been going on, as we learn that the vampires who were underwriting the Dam project were lured there by Skinner Sweet and another vampire with a connection to Cashel.  These revelations come together in a dramatic and interesting scene in a cave.  I really like where Snyder is taking this comic, with its different races of vampire, each with different strengths and weaknesses.

As always (it's become such a routine statement), Albuquerque's artwork is incredible.  This is such a great looking book, that it becomes easy to overlook how well written it is too.

American Vampire #8

Written by Scott Snyder
Art by Rafael Albuquerque

This is the third part of the Las Vegas arc of American Vampire, and a whole lot of stuff gets explained, about the Vassals of the Morning Star, the identity of the creature that's been killing the presidents of the companies building the Hoover Dam, and just what Pearl's been up to since the end of the first arc.

I've enjoyed this comic since it started, but I think I'm enjoying it even more now that the preliminary work is out of the way and Scott Snyder is doing his own things with the characters.  Pearl has been a great character from the start, but I think her defense of Skinner Sweet helps add some nuance to her character.

As always, the art is absolutely fantastic in this title, and the fact that the price is soon going to be reduced to $2.99 should give it a better chance of life.  Strangely, for the second month in a row, the cover that was published is not the same as the cover that I bought, but for no apparent reason that I can discern.

24 Seven Vol. 2

Edited by Ivan Brandon

This anthology is the second of two graphic novels that contain only short stories featuring robots.  The trick, or the conceit, is that the robots are the only inhabitants (except, in one story which also has gorillas) of the planet, and they tend to live what we regard as normal lives.  The book is somehow connected to the NYC Mech series that Image put out in the middle of the decade, but these books feature a rich variety of talented writers and artists.

When I read the first volume, I complained that the stories were pretty ordinary, and didn't do much with the robotic concept.  People whined about their jobs or had break-ups, and the fact that they were robots seemed to exist solely in the visual aspects of the comic.  That is not the same with this volume.

Instead, many of the stories deal head-on with the notion that the protagonists are mechanical in nature.  There is a story by Carla Speed MacNeil and Bruno D'Angelo that has the main character slowly trading in his parts so that the he can become a dancer, although it means giving up his family's legacy.  Similarly, Kelly Sue DeConnick and Andy MacDonald tell a story where the hero literally carries his emotional baggage around with him, attached to his body.

There are lots of great stories here by a very impressive list of creators, including Gene Ha (who plays around with a homage to Little Nemo in Slumberland), Fábio Moon, Michael Avon Oeming, Francesco Francavilla, Gabriel Bá, Juan Doe, Rafael Albuquerque, Ben Templesmith, Dave Johnson, Jason Aaron, Fiona Staples, Jason Latour, and Frazer Irving.

This is a very coherent and enjoyable anthology, which covers a number of different genres.  Recommended.

American Vampire #7

Written by Scott Snyder
Art by Rafael Albuquerque

Snyder has a lot going on in this second arc of American Vampire.  We learn a little more about how Sweet has established himself in Las Vegas, and we discover that he's not involved in the murder that set the arc off.

In addition to continuing to give us an interesting look at Vegas at the time of the construction of the Hoover Dam, Snyder also starts to structure the series for the long term, making reference to an anti-vampire group called the Vassals, which has at least one familiar member in it.  I'm sure we'll find out more about these people as the series unfolds.

Another point of interest is the way in which the Vassals, posing as FBI agents, appear to know Sweet, and have information about the different breeds of vampire, suggesting that it is not just the 'American vampire' that is unique in its abilities.

As usual, Albuquerque's art is great, although a couple of pages seemed a bit rushed.

American Vampire #6

Written by Scott Snyder
Art by Rafael Albuquerque

I'm sure much of the commentary about this comic is going to focus on the fact that Stephen King is no longer contributing to the title, although I hope that most reviewers will agree with me that this issue proves he was not really needed to deliver an amazing comic.

With the book now his alone, Snyder moves the story to Las Vegas (after a strange introductory interlude) in 1936, while it is in the grip of its first huge construction boom, brought about by the advent of the Hoover Dam.  The story is centred on Cashel McCogan, the chief of police, who is having a hard time keeping control over the town.  He's recently been promoted after his father, who held the job before him, was killed in the line of duty. He is joined by two FBI agents sent to assist him (one with a familiar last name), just as an important member of the dam-building consortium is murdered by a vampire.  Another familiar face shows up at the end of the issue (kind of spoiled by the cover).

Snyder really captures the sense of a frontier town exploding under the weight of the huge influx of low-skilled labour needed to build the dam, at a time when the rest of the country is suffering through the Depression.  It reminded me a little of Deadwood (always a good thing), and provided a real sense of place to the comic.

Albuquerque's art is amazing.  I say that every month, but it's no less true.  I mentioned last month that this title would have to prove that it's worth the $4 a month when it became regular-sized.  While, if the book stays this good, it's not going to be an issue.  Note to DC though - using the shiny cover paper doesn't justify raising costs.  It's kind of insulting.