Friday, 30 December 2011
I, Vampire #4
I, Vampire #4 by Fialkov / Sorrentino
The irony of the D.C reboot is mainly found in the fact that its most successful titles aren't as well represented by sales as they could be. I, Vampire sums up the problem - Joshua Hale Fialkov and Andrea Sorrentino are crafting an epic, slow burning story, the tragedy being that not enough people are reading it. One of the most pleasing facets of the story has been Fialkov's willingness to use established D.C characters, with a scattering of references to Batman in previous issues and John Constantine's star billing in this weeks #4.
Although some of the wider plot threads continue to drift along, for the most part this is a done in one story about a 'vampire' and his struggle to control his ability. Constantine's appearance was a somewhat obvious move for the title, but he is more than welcome and Fialkov writes him with unexpected verve and confidence. For those unfamiliar with the character he is well introduced, without any intimidating info-dumps and plays a refreshingly pivotal role in the story. The plot, while being simple is rendered well, and its central figure is once again introduced effectively in a limited timespan, Fialkov forging the sort of emotional connection with the reader that often takes several issues of development. One gripe would be the lack of last issues newly introduced supporting cast - I thoroughly enjoyed them and was hoping for more this issue. I also expected the story to have developed a little further at this point, although Fialkov's measured style is one of the stronger aspects of his work. Andrea Sorrentino's work is once again, simply beautiful, atmospheric and haunting. The book looks superb and has a style to it that many top tier titles would do well to learn from.
I, Vampire still isn't flashy, colourful, or particularly gimmicky, but it certainly fits into a niche not otherwise occupied in the world of comic books - despite its somewhat done to death subject matter. It won't be for everyone, but Fialkov and Sorrentino look to be crafting the sort of storyline that deserves a lengthy run to match its obvious scope.