Where to start...
This is one amazing graphic novel. And thankfully it's a hugely successful series, so I'll be able to satisfy my bloodlust with future volumes. The book itself is of the utmost quality in terms of production value. It's a sturdy hardcover with a thick dustjacket the likes of which I have rarely seen. The pages(all 200 of them)are nice and glossy, making them worthy of such a masterpiece of horror fiction. There are some nice bonuses in this book, including a fun intro by co-writer Stephen King. A superbly packaged graphic novel. Grade: A+
The story, created by Scott Snyder and co-written by Snyder and Stephen King, is a unique new take on vampire-based horror(a subgenre of horror that has been oversaturated in recent years courtesy of books such as the "Twilight" saga, and TV series such as "True Blood" and "The Vampire Diaries" - all of which focus heavily on sappy love stories and brooding vamps who are really good guys, they just happen to have tortured souls). Teens love 'em. Some adults too. Even I have to admit that I've watched the "Twilight" movies and have seen a few episodes of "True Blood" and "The Vampire Diaries". I found "Twilight" to be vaguely interesting(even though it's a pretty laughable storyline and is clearly marketed toward the teenage crowd who love to argue over who's hotter and who's "team" they're on - Edward or Jacob). And the few episodes I saw of "True Blood" were fairly entertaining(much better than twilight anyway). But neither were very scary. And isn't that the whole point to vampires? To be scary? Now "30 Days of Night" by Steve Niles was scary! Both the graphic novel and its movie adaptation were oozing with the kind of nightmare-inspiring scenes and white-knuckle tension that left me panting for more. The scarier, the better. Does "The Vampire Diaries" give anyone nightmares? I don't see how it could. It's a soap opera that just happens to revolve around vampires. Gimme something that will make me shudder! And that is just what "American Vampire" vol.1 does.
In "American Vampire", the story is split into two different time periods: 1880 and 1925. The stories do have a common thread however. And that's one of the things that makes it work so perfectly. Each chapter carries you from Pearl's story(the protagonist of the 1925 storyline) to the anti-hero Skinner Sweet's story, which takes place in 1880. Skiinner's role in the Pearl storyline ties the two stories together. And both stories are a big old helping of horror in the form of a slice of Americana. This is a sweeping , thoroughly American epic in the making, each volume covering different time periods in American history. This first one covers the Wild West and the Roaring 20s, both of which are portrayed in an authentic and captivating way. I won't go into plot(as there are many other reviewers who have already tread that ground). I will say, however, that the plot(or plots, rather) are tightly woven and executed with intrigue, suspense, action, drama, humor, and those nightmare-inspiring kinds of scenes I alluded to earlier. Fun, scary stuff! Grade: A+
Now for the writing and the art. I've always viewed the writer and artist as needing to have a sort of "love affair" or "marriage", if you will. And a happy one at that. They need to be on the same page. Have the same goal. Otherwise, you could wind up with a well-written story, but one that is poorly drawn and fails to communicate the main themes and objectives of the story. Or it could be the other way around. The art could be fantastic, but the writing weak. When either of these is the case, you don't get what you SHOULD get out of a graphic novel. The reason they're called "graphic novels" in the first place is that they tell a story through both literary and visually artistic means. Is it possible for a graphic novel to have ONLY good writing? Well, that is subjective. I've read graphic novels where I loved the writing, but didn't care much for the artwork. So, yeah, I guess it's possible for me. But was it totally fulfilling? Did it captivate me the way a truly great graphic novel can when both the writing and the artwork are on point? No, it didn't. So, I whole-heartedly believe that for a graphic novel to achieve true greatness, it has to work on every level; not just writing, and not just art. The writer and artist have to be happily "married". But actually, that isn't enough. Given the fact that the artwork usually consists of more than one person(the penciller, inker, colorist, letterer), it really has to be one big happy "family". Another way to look at it is like having a collective conscioussness/vision as to the direction and overall experience of which the book should deliver to the reader. And this is, I'm happy to report, the case with "American Vampire" vol.1. They were all on the same page.
The way in which Scott Snyder writes dialogue is simply masterful! I was unsure of his writing ability due to this being my first foray into his horrifically genius mind. But boy, was I impressed. King has been a favorite of mine since my days of wearing Oshkosh Begosh overalls. And although this was his first attempt at original comic book writing, I was fairly confident of his ability to produce the goods here. And as anticipated, he rises to the occasion and does it with that same King-ian style he uses in his prose stories: wonderfully visceral and intense dialogue, infusing his wicked sense of humor and downright nastiness at all the right moments. His stories are so iconic. He's a legend; like a legendary gunslinger(pun intended). And his triumphant storytelling in this book is another notch on his belt. Snyder, however, more than holds his own with incredibly realistic and natural-flowing exchanges/banter between the characters, building a world that feels true and concrete, while showcasing HIS knack for humor(both light and dark) as well as visciousness. Add this to his creativity as a storyteller, and he's made me a believer and huge fan. I will try to follow all his books. I already have "Severed". I haven't started it yet, but his work here is very encouraging! In short, the writing is phenomenal. Grade: A+
Like Bruce Lee's philosophy on martial arts, Rafael Albuquerque and Dave McCaig's approach to the artwork in this book is one of adapting to the two stories' specific needs. Lee never liked the idea of having a single "style" of martial arts. His concept of Jeet Kune Do(the style of no style, or way of no way) stated that one needs to adapt their abilities to suit each opponent. No two men(or women) are exactly the same. So he believed that it was smart to change your tactics and/or techniques based on the individual you were facing. This concept is true for the artwork of Rafa and Dave, only in this case it deals not with different opponents, but with different stories. The stories are written in different ways, in different time periods. So Rafa(the penciller and inker) and Dave(the colorist) adapted their artwork to suit each of those stories. The artwork on Snyder's half of the book(the 1920s) is expressed in a highly colorful, vibrant, bold, sharp, somewhat pop-art-like style that strongly highlights the glamour of Hollywood in that time. If I had to compare the look of this story to another artist's style, I'd be uncomfortable because it is so unique to Rafa and Dave. But if I HAD to, I'd say it's closest to Leinil Franics Yu, with maybe a tad bit of the Kubert brothers(Adam and Andy) thrown in. King's story, on the other hand, while still somewhat resembling Yu, also has a little bit of Ron Garney's style of art from his more recent work - "Ultimate Comics Captain America", for example. It also STRONGLY reminded me of the wonderfully masculine eye-candy created by masterful artists Cary Nord and Dave Stewart in the pages of Dark Horse's Eisner-winning "Conan" series. And as with those "Conan" books, the Wild West portion of "American Vampire" has a softer, more pastel-like aesthetic(all be it with many dark/bleak tones and solid blacks)while maintaining that same masculine feel. It has an earthier palette and a more loose/grungy/slightly less refined feel(but as an intentionally stylistic choice, rather than being due to laziness) that works beautifully. Rafa and Dave work together as well as any other artist team in the biz. The mood they capture and evoke in the reader in both stories is terrifyingly stellar. I hadn't seen any of Rafa's artwork until this book. I'd heard his name, but that's it. Dave I'm very familiar with. And I must say that he has outdone himself here. I must also mention the lettering of Steve Wands. I've got one or two books with his lettering in them, and as with Dave McCaig, I feel like he's never been better. All three guys worked together like peas in a pod. They all shared the same vision as the writers and it shows. As I said earlier, "collective conscioussness"! But in terms of artwork? Grade: A+
So concludes the end of my review. For those of you who stuck around for the whole thing, I hope I've been at least a bit informative. I guess I could have just said, "A plusses all around!" and been done with it. But where's the fun in that? If you're looking for a creepy, fun and scary horror graphic novel about vampires(not the sparkly kind), then you need to pick this one up right away! You won't be disappointed!
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Reviews with images
Ultra-Violent and Dark; Twilight Twinks Need Not Read
American Vampire, Volume 1, comprises the first five issues of the ongoing graphic-novel series. This book features two interconnected stories—one by Scott Snyder, the other by legendary horror writer Stephen King—that provide a fresh take on the vampire mythos. King's story is set in 1880 and tells the grisly origins of notorious candy-loving outlaw, Skinner Sweet, who awakens from death after being infected by blood of the undead. Sweet is a new breed of vampire, stronger and faster than all the heretofore vamps. He's an American vampire, after all. Snyder's story, which takes place in 1920s Los Angeles, follows Pearl Jones, a struggling actress hoping to make it big in Hollywood. The naive Pearl is brutally attacked by a coven of European vampires and left for dead, that is, until Skinner Sweet revives her. Skinner then offers Pearl a chance to exact vengeance on those that killed her.Artist Rafael Albuquerque deftly captures both the 1880s Old West and 1920s Los Angeles. When it came to translating Stephen King's story, the artist gave the panels a grungier look that blends perfectly with the untamed Western motif—a roaring contrast to the effete Art Deco style of mid-1920s Hollywood that occupies the other half of the book. He relies heavily on shadows and black profiles, but also suffuses the daytime portions with strong desert sunlight. Albuquerque delivers a brilliant vision of deadly vampires that's similar to Ben Templesmith's red-smeared approach in 30 Days of Night. Horror readers will lap up the moody, macabre artwork of American Vampire.As for the narrative, you really can't say enough about the expert storytelling that we've come to expect from Stephen King and Scott Snyder. King's opening introduction gets to the bloody heart of why American Vampire rises above the undead deluge that's reduced the classic vampire monster to "anorexic teenage girls [and] boy-toys with big dewy eyes." Both writers have a strong knack for creating real and likable characters. Pearl Jones is an especially appealing protagonist, a strong young woman with dreams of fame yet she's afflicted by doubts and homesickness. Less endearing, though, is the wonderfully psychotic and impulsive Skinner Sweet with his flaxen hair and insatiable sweet tooth; the dude makes for a memorable anti-hero. Still, what I liked most about American Vampire is its innovative and refreshing spin on the vampire mythos, with the elder vampires seeking to control the younger breed (which they see as an 'abomination'). Yet, in fine American tradition, this new species of vampires refuses to become the inferiors of the European bloodline and savagely battles for control of the West.American Vampire, Volume 1, is a promising start to a series that seeks to change the contemporary perception of vampires as teenage heartthrobs. Unfortunately, because Stephen King was only contracted to the first five issues, I haven't bothered to read the subsequent volumes. Nevertheless, Volume 1 is vibrant, creepy, and wonderfully gruesome, and best of all, its rich and expansive plot works well as a stand-alone story. Because it's ultra-violent and incredibly dark, I wouldn't recommend it for younger readers. Twilight twinks would do well enough to avoid this book, for they'd be unable to fathom the idea of vampires as remorseless killing machines. Modern-day horror literature is congested with romanticized and hypersexualized representations of vampires, but it's laudable yarns like American Vampire that strive to recapture the vampire genre—it's a refreshing and thoroughly enjoyable romp. This is what a vampire story should be!
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