“Dark Red” #2 ups the stakes for our small-town hero in some delightfully weird ways. Warning: minor spoilers ahead.
Written by Tim SeeleyCover by Aaron Campbell
Illustrated by Corin Howell
Colored by Mark Englert
Lettered by Marshall Dillon
Rural vampire Chip is dragged from his boring life as a late night convenience store clerk and into a monstrous conspiracy, as he protects the ravishing vampiress Kamille from the Order of Eventide. Can Chip be the hero he always saw himself as?
“Dark Red” is an interesting book, and from the first issue it’s clear that it’s not a “Redneck” clone in any way. Seeley knows how to establish characters and measure out action nicely, and the pop that we end on in issue #1 gives way to some interesting introspection. No spoilers here, because the reveal is neat, topical and complicates Chip’s character in a promising way. If Seeley’s aim is to paint an authentic portrait of someone who genuinely wants to be left alone while highlighting some of the nuance of conservative politics, he nails it. If Seeley’s aim is to not apologize for those politics, but shine a light on the complexity of human existence while also taking a swipe at extremism, he also nails it.
There’s enough here in issue #2 to build up Chip as a character whose morals are dubious but, to him, firm enough that when he runs into Kamille and Victor, he’s definitely going to pick a side. Will he stick to his guns? We’ll have to wait and see. Victor’s monologue is a touch too long, but he’s a talkative boy so it ultimately suits. We also get some extra flavor with our drinking buddies from the first issue, and catch up a bit with Evie as she lands herself in some peril right quick.
Howell’s line is very controlled, with precise details that suit Chip’s grim reality. His measured, orderly way of existing is reflected in the book’s standard clothing, hair and locations, but Howell spends extra time on the background details, especially in the convenience store, to get that regimented feeling down. The art in “Dark Red” isn’t hyper-realistic, but Howell’s careful about the angles and locations to make sure the unreality stays where it should: with the vampires. “Dark Red” #2 shows us a bit more of our undead kin, and it’s a nice change of pace to see that they look, well. Undead.
There’s a definite Nosferatu vibe about these blood-suckers, especially when we see Kamille in all of her unearthly glory later on in the issue. Victor never breaks kayfabe completely, because of course he wouldn’t, but Howell does a great job with the design to inject some legitimate horror into the middle American landscape. There are also a lot of other little details that work, like the careful linework of Chip’s beard and the great fang shot of Victor as he’s revealed for what he is. Rhetoric aside.
Englert’s colors are delightful, with some nice tans, greys and muted nighttime grit to highlight Chip’s doldrums and his routine lifestyle. Chip’s life and world are relatively small, by choice, and Englert pays special attention to the moon as a light source to brighten and clarify the scenes with Kamille and Chip in his soon-to-be-derelict crash pad. The convenience store has some nice red accents as an antecedent to the conflict that’s soon to follow, and as the conversation between Victor and Chip takes a turn for the bloody, the backgrounds pop with red, orange and yellow splatters in appropriate doses.
The blood in this issue is particularly interesting. Englert chooses a rosy red at the beginning that slowly morphs through some oranges to get to the sickly, vivid red in the final splash. Howell’s linework adds some nice splatter and viscosity, and Englert’s color choice makes it pop right off the page. There’s nice symmetry between Chip’s shirt and the MAGA hats as well, and as our eye follows the red down the page it grounds the final moment and makes it really stick.
Dillon chooses an interesting font in “Dark Red,” but it doesn’t always work. The uniformity and size are off-putting when contrasted with Howell and Englert’s softer work on the page, and it reads as too crisp and impersonal in the book’s normal dialogue. In the talkier moments with Victor and Chip, the balloons can dominate. That said, there’s something very subtly off-kilter that comes into play when Dillon adds style to the balloons when Chip or the other vampires have their full powers on display. The double red and black stroke on the balloons is a nice touch, and the font looks more sinister in red than black. There are also some nice gritty sound effects at the end as we learn there’s more than just a few vampires who’re moving in on Chip’s territory.
Seeley and the team are putting together a solid run so far. “Dark Red” #2 is a workhorse, as second issues should be, and does a great job in deepening the story’s particular vampire lore while keeping the action ticking along nicely and the schlock factor pretty high. Chip very much wants to be left alone, and he very much will not be. This book has a Near Dark vibe about it without trying too hard to match Bigelow’s iconic tone or style, and if “Dark Red” keeps going the way it’s going, we’re in for a fun ride.
Final Verdict: 7.5 – “Dark Red” #2 is a good second issue, with enough lore and action in balance to keep our interest and some solid visuals to boot.
