We are in the throes of New York Comic Con today and, when you take away all the craziness, photo ops, amazing parties, and cosplay, what all comic conventions really are boils down to this: they are places to learn more about comics. Whether it is by attending a panel, chatting with a creator, buying that book you’ve always heard about, or just seeing the machinations of the industry, a convention is a place to learn.
Last year at NYCC, I was, sort of at the last minute, assigned to interview Joshua Hale Fialkov, writer of “I, Vampire,” which I had not yet read. So, in the 20 minutes or so I had for prep, I picked up issue #1 and tried to find a quiet area to sit and read. I went in expecting a “Twilight” knockoff, and was dismissive before I even opened it up.
But when I did, I was shocked at what I found: a beautifully illustrated, deep, well written vampire story.
For those who haven’t checked the book out, it is a simple enough plot: Andrew Bennett, a very old, very powerful vampire, is trying to live a life without killing. He is trying to do what is right, and is met at every turn by his love, Mary, who is a militant vampire, obsessed with taking over the world — specifically, with Bennett at her side. Bennett was the one who turned her into a vampire, and while their past has not been fully fleshed it, it appears that at some point Bennett decided he cared more about his principles than being morally in line with Mary, and so they split.
While the story may not seem like the most original tale ever told (and it isn’t), the way that Fialkov and artist Andrea Sorrentino tell their story is a deliberate, well-paced and slightly askew way. Neither the tone nor the look are really matched anywhere in the DCnU, or even in most mainstream comics. The book has the feeling of twilight — not the vampire books, but the time of day — everything is shadows and fog, and that mood is supported in every panel and text box.
Perhaps the biggest reason that #1 blew me away was the stunning art by Sorrentino. The Italian artist was totally unknown to me, and I was taken by his moody settings and creepy, but not horrific, vampires. Sorrentino, along with other relative newcomers Ben Oliver and RB Silva, really reinvigorated DC with an influx of new talent. The big difference between Sorrentino and the others, however, is that Sorrentino hasn’t had a single fill-in artist yet on “I, Vampire.”
While this may not have been news even a few years ago, with the breakneck pace of the New 52, where lateness is not tolerated (unless you’re Jim Lee), only a handful of artists can claim stability on a book like this. Sorrentino not only is consistent, but his tone is so perfectly matched, that it is hard to imagine him working on any other book.
For the first few issues, the book was its own little corner of the DCnU, but quickly familiar faces started popping up. Many times, guest stars signal a creative well run dry, but Fialkov brought in people like John Constantine and Batman, nailed their tones, and started to connect this book with the others in the New 52.
In fact, it was the crossover with “Justice League Dark” that really sold the book as a long-term prospect. Seeing Bennett fit in seamlessly with other DC characters was a clue that the book could go in more directions than just brooding and looking good. With the addition of the Van Helsings, a band of vampire hunters, to the mythology, the book now has a cadre of characters with fuzzy morals and motivations, trying to thrive in a hostile world.
The most recent issue, #0, is a prime example of why the book works so well. It tells the tale of Bennett being turned into a vampire, and has all the trappings of a classic vampire story: a carriage in the woods, letter to a loved one, distrust and, eventually, blood. While Stoker is clearly being evoked here, Fialkov never lets you forget the humanity of every character involved. Even Cain, a vampire so long he’s lost most of it, shows signs of decency throughout. Bennett’s humanity is always in the foreground, and he is able to bring it out of people, like Mary, who would probably rather see it disappear.
When the New 52 was announced, diversity of the line was the name of the game. “I, Vampire” was part of the effort to make the company more than just superheroes. Along with the similarly dependable “All-Star Western” team, Fialkov and Sorrentino have managed to create a book that stands on its own, with other DC books, and out on the shelves.
