Written by: Scott Snyder
Art and cover: Rafael Albuquerque1935, Las Vegas. Who are the Vassals of the Morningstar? What do they want with Skinner Sweet? And who do they consider to be “the most dangerous vampire in the world”? Don’t miss the penultimate chapter of “Devil in the Sand,” and see why critics are going crazy for this can’t-miss new Vertigo series.
American Vampire #8 brings us the third part of the second arc of this series as well as the issue that writer Scott Snyder told MC writer Walt that it was “one of the issues (he was) proudest of.” That was an intriguing enough comment that I had to add this book to my review stack.
Find out how I think it sizes up after the jump.
I try not to fall into the classic pitfall of cross medium comparisons in my reviews. 99.9% of the time, I have no problem with that. This time, I find it extremely difficult to not do so.
So I am not going to even bother trying to dodge it.
In the past, I haven’t read a whole of horror comics. Outside of Joe Hill and Gabriel Rodriguez’s Locke & Key, I’ve somehow mostly avoided the genre. What I have experienced are horror films, both good and bad, and American Vampire #8 exemplified all of the qualities of the former with any of the latter. From the writing to the pacing to the visuals, this book was nothing short of cinematic, with a real liveliness and sense of dread that surpasses even the admittedly stellar seven issues that preceded this one.
Since the beginning of this arc, in which series creator Scott Snyder and artist Rafael Albuquerque took over the book entirely on their own (the first arc’s co-writer – Stephen King – is now off the book), AV book has really developed a clarity of focus on the events at hand. While the first arc introduced primary characters Skinner Sweet and Pearl Jones as well as telling two separate but excellent stories per issue, this arc has cut it down to just one central storyline and the book is all the better for it.
Doing so has allowed Snyder and Albuquerque to really develop a sense of the world and environment in a more all-encompassing way. As you read this book, it’s as if you can see through McCogan’s eyes and feel the heat off the burning limousine in the scene where magnate Blaine Isbelle is killed. The action within this book leaps off the page, keeping the reader engaged and enamored with each exciting turn of the page.
The dueling plot threads in this issue are centered around the enigmatic Vassals of the Morningstar, an outfit that has existed for a long time for the sole purpose of ridding the world of Vampires. The story unfolds with one team of Vampire killers off visiting Pearl Jones to figure out a way to once and for all kill Skinner Sweet, while a team in Vegas works with new (and exceptional) character Chief McGogan on resolving the deadly Vampire problem that plagues the men who are funding the Hoover Dam’s construction. The plotting is accentuated by a sharp sense of pacing from Snyder, as the books every turn is positioned perfectly to make sure both the horror and character elements are amplified to the highest degree.
Snyder is a maestro, tying both threads into the stories from the first five issues effortlessly while also developing each of these characters in organic and surprising ways. With Chief McGogan quickly becoming my favorite character in the book, the twist he is faced with at the end of the book floors me and makes the conclusion of this story all the more exciting. When reading this book, it quickly becomes apparent that it is so good because Snyder presents the story as an extension of the characters rather than vice versa, and with that foundation, every moment feels all the more valuable.
While Snyder is exceptional, his artistic partner is no slouch either. Before this book even started, I made a post here about how I think Rafael Albuquerque is on his way to becoming an industry titan. While I’m uncertain if he’s made it there yet, it’s not for a lack of quality. This guy has been putting out industry best work month in and month out, and this issue gives him even more opportunity to shine. Whether it’s moments like the arrival of a slew of Vampires to the local hotel or ones like McGogan’s face when his big twist hits, they are all brought to life by the exceptional Mr. Albuquerque.
Everything about the visuals of this book work perfectly in tandem with the script, and this book really feels like a creative team rather than just a writer and artist working on the same project. Not just those two, but colorist Dave McCaig and letterer Steve Wands all impart their talents onto the book incredibly well. Top to bottom, American Vampire is a superb book, and it is just getting better with each passing issue.
Final Verdict: 9.6 – Buy
