• Reviews

• All
• Music
• DVDs
• Live
• Cinema
• TV
• Books
• Comic Books
• Video Games

Oct 04, 2011 DC Comics By Jeremy Nisen

It’s no secret that I’ve enjoyed Joshua Hale Fialkov’s writing in the past. And it doesn’t surprise me that he’s done something atypical with I, Vampire, turning in much more of an introspective and relationship-oriented piece than we’ve seen in the DCU New 52 relaunch. While in some sense, I wonder how well this title fits in with the mosaic of a world being created in that relaunch. After all, this is the same world with alien strippers, “They Live”-style otherworldly invaders, mad witches, and, of course, people wearing capes and cowls and unnecessary gloves. Even so, in and of itself, I, Vampire is a good read.

This is essentially a breakup story. Mary and Andrew—he’s a bloodsucker who wants to coexist peacefully with humans; she’s a bloodsucker who wants to fight for her right to consume them. Some of her logic is odd, such as in the same page comparing herself to Malcolm X, MLK, and Ben Franklin, then dismissing humans as livestock (so admire them, then eat them?). Andrew seems as concerned about the fallout of Mary’s pending war on the rest of their vampire kind as he is about being ethical.

But their relationship is strong and seems to earn them one more night of peace. In flashbacks, we learn about her siring and about his taking pity on her, and how he’s more or less vampire ass-kicker #1.

But Andrew, the issue reveals in a bloody mess of humans, didn’t count on just how productive Mary (now calling herself “Mary, Queen of Blood”) had been in building her army.

So we’ve got conflict, antagonist, protagonist, a nice tweak on classic vampire stories, a little of that Lestat/Twilight/sexy vamp thing going on—this is a good starting place. The first issue is pretty subdued, but it’s a tone that fits with the dramatic, moody art and scenario. Some of the flashbacks were somewhat confusing from a layout standpoint, and the caption boxes portraying two people’s dialog could have been better differentiated, but everything can be figured out in context. Andrea Sorrentino’s art, as said above, is moody and deliberate and nicely detailed; perhaps not as dynamic as other comic art, but very pleasing and well-posed. Good use of blacks and shading.

A good starting point; I’ll anticipate the subsequent issues kicking it up a couple notches. (www.dccomics.com)

Author rating: 7/10