Fear in Four Colors: Victorian Undead #2: “The Skull Beneath the Skin”

Writer: Ian Edginton
Art: Davide Fabbri
Colors: Carrie Strachan
Letters: Saida Temofonte
Cover: Simon Coleby & Jonny Rench
Publisher: DC Comics
Publication Date: Jan. 1, 2010

Even the threat of imprisonment cannot deter the inquisitive minds of one Sherlock Holmes and his faithful companion, Dr. Watson, when faced with the walking dead. In the second issue of writer Ian Edginton’s Victorian Undead, a six-issue miniseries from WildStorm that pits Britain’s infamous detective against hordes of mindless reanimated corpses, Watson and Holmes make their way back to the scene of the first undead attack, deep underground the streets of London. What they discover there is beyond anything the pair could’ve imagined, and as things below the surface escalate, our heroes must hope for a miracle in the face of a painful and bloody death.

Once again ,Ian Edginton and artist Davide Fabbri deliver an excellent mash-up of traditional Sherlock Holmes story and the gory antics of the living dead. Edginton’s version of the British detective is characteristically intelligent, but thankfully lacks the patronizing nature that some portrayals of Holmes employ. Although he usually is a step or two behind his quick-witted companion, Watson is given an opportunity to demonstrate his own deductive reasoning in Victorian Undead #2, and I must admit that I was surprised by the degree of competence that he displays.

Unlike the first issue of Victorian Undead, which only featured one or two shambling corpses that were dispatched very quickly, the second issue of this series is far bloodier, much more action-packed, and filled with zombies! The interactions that Watson and Holmes have with the living dead in Victorian Undead #2 give the two an opportunity to demonstrate their physical prowess and sharp-shooting skills in addition to the intellectual and reasoning capabilities generally on display in Sherlock Holmes stories.

Each issue of Victorian Undead runs about 28 pages, so only so much story development can happen with each new installment. Fortunately, Edginton does an excellent job of moving the story along at a quick pace while still providing the reader with enough details to keep him or her from getting lost. Davide Fabbri’s art is the perfect compliment to Edginton’s story—both detailed and somewhat stylized, an excellent balance for the series.

If you enjoy the zombie genre and have an extra $2.99 lying around, I’d recommend that you pick up this issue of Victorian Undead. It’s debatable whether or not you need to read the first issue to understand the second, but I’d recommend at least flipping through the original if you intend to read issue #2. -- Paige MacGregor

Fear in Four Colors: Jason Starr's The Chill

By Paige MacGregor

Every girl wants her first time to be special, but for Arlana Flaherty, “special” doesn’t even begin to describe the first time she made love to her boyfriend, Martin Cleary. Unfortunately for this beautiful Irish lass, the Flaherty clan are the keepers of “The Chill”, an old and powerful magic that grants immortality to a select few for the price of innocent men’s lives. And Arlana’s father has a taste for everlasting life.

More than 40 years later, a serial killer is on the loose in New York City, and as the number of sadistic, ritualistic murders begins to add up, the NYPD and FBI hone in on a suspect: a beautiful young woman named Arlana. The problem? Every witness provides a different description of Arlana, a fact that makes sense to no one save a beaten-down Irish cop named Martin Cleary.

Award-winning novelist and screenwriter Jason Starr’s first foray into the world of comics has resulted in the 192-page graphic novel The Chill, first published in 2009 by Vertigo Crime, a sub-imprint of DC Comics’ Vertigo imprint. The Chill is a gritty, noir-style thriller illustrated by Mick Bertilorenzi. Like the silver screen adaptations of Raymond Chandler and other authors’ original noir fiction, Bertilorenzi brings Starr’s story to life in high-contrast black and white perfect for modern crime fiction like The Chill. The graphic novel’s visual style is reminiscent of newsprint, even down to the texture of the paper, and the result is a tableau that compliments Starr’s writing without detracting from the progression of his story.

Starr’s background as a novelist shines through, and is evident in the extent to which the characters are developed, the complexity of the story, and the twisted, unexpected ending. Even readers who believe they know how it will end as they make their way through the graphic novel will be surprised by the grotesque nature of Starr’s ending, which is so deeply disturbing as to be virtually unpredictable. The Chill is far from tame, as readers will discover as soon as they begin reading. It's rife with graphic nudity, gore and sex, but it is the fact that Starr addresses the subject of ritualistic murder, intrigue and sexual manipulation in such a head-on manner that sets The Chill apart from other graphic novels I have read.

While it is possible to read The Chill in a single sitting, this is not a light graphic novel. As previously mentioned, The Chill is 192 pages long, and the action doesn't stop for a second, even when Starr's characters are laying out exposition. Fans of horror comics and thrillers certainly will enjoy Jason Starr's crime drama, and I highly recommend picking up a copy, either directly from Vertigo Crime or from another comic book retailer.

Fear in Four Colors: The Trick ‘r Treat Graphic Novel

By Paige MacGregor

Although I can’t answer the question of whether the comic adaptation of writer/director Michael Dougherty’s Halloween horror flick Trick ‘r Treat lives up to its cinematic counterpart (since I haven’t seen the movie), I CAN answer whether the 96-page Trick ‘r Treat graphic novel is worth the two-year wait that fans were forced to endure after the comic’s release date was pushed back from October 2007 to October 2009. The answer? No, Trick ‘r Treat isn’t really worth it.

I’m sure that members of the Trick ‘r Treat film’s cult following will enjoy Marc Andreyko’s Trick ‘r Treat adaptation, but as a reader unfamiliar with the film, I was confused by the multiple stories contained in the graphic novel. Originally, Trick ‘r Treat was scheduled to be a four-part comic series illustrated by Done to Death artist Fiona Staples. The four issues were scheduled to be released weekly in October 2007, the last issue appearing on Halloween. When Dougherty’s film was backlisted, however, the comic’s release was pushed back.

Subsequently, DC/WildStorm made the decision to release Trick ‘r Treat as a single graphic novel, written by Marc Andreyko (Manhunter, Torso), but featuring contributions from four different artists, including Fiona Staples. In addition to Staples, Gen13 artist Mike Huddleston, cartoonist Grant Bond, and The Curse of the Werewhale and The Texas Chainsaw Massacre artist Christopher Gugliotti were recruited to illustrate portions of Trick ‘r Treat, and in my opinion that might be the worst decision that was made by DC/WildStorm with regard to this particular graphic novel.

I was intrigued by the novel’s cover, which was created by the film’s concept designer Breehn Burns and depicts the now well-known Trick ‘r Treat character Sam in his signature costume, partially eaten pumpkin-shaped lollipop in hand. Unfortunately, beyond that I was disappointed. Had Trick ‘r Treat been published in four separate issues as originally intended, I think I would have liked the series better. Lumping four comic-book-length stories that are all based on the Trick ‘r Treat film but are illustrated in very different styles is not the best idea. For readers like me who enjoy some consistency in their graphic novels’ visual style, Trick ‘r Treat’s illustrations detract from the story by distracting the reader from the actions taking place on the page.

As such, I had to read through it several times to focus on the stories being told rather than on the visuals, and what I found was some rather uninspired writing. According to various sources, Marc Andreyko’s writing remains true to the Trick ‘r Treat movie script, which may be why the stories themselves lack imagination and emotion. Stories designed to be told using a combination of audio and visual means don’t always translate well into the written word, even with accompanying illustrations, and despite Andreyko’s best efforts the Trick ‘r Treat graphic novel falls flat.

I would only recommend this graphic novel to those who have seen and enjoyed the Trick ‘r Treat film, and even then I would do so with the disclaimer that I can’t speak to how well the comic captures the feel of the movie. Trick ‘r Treat fans may find that the graphic novel adaptation falls short for them, as well.

Fear in Four Colors: American Vampire #1

By Paige MacGregor

Despite the recent Twilight phenomenon, the most influential vampire lore has traditionally originated in Europe. From F.W. Murnau’s silent film Nosferatu to Bram Stoker’s classic novel Dracula, the most enduring vampire tales have come straight out of places like Germany and England. Now, however, New York Times bestselling author Stephen King joins Scott Snyder and Rafael Albuquerque to create a monthly comic series that revolves around a new, distinctly American breed of vampire.

Well-known short story writer Scott Snyder’s contribution to American Vampire #1 tells the tale of a Jazz Age starlet-wannabe named Pearl and her roommate, Hattie. The two girls spend their days as extras on Hollywood sets, and nights working second and third jobs in order to make rent. When Pearl catches a lucky break on set and is asked to stand in for a light reading for the film’s leading lady, she finds herself swept into a world of decadence, invited to a ritzy party with the film’s elite cast members and other high society individuals. Unfortunately, what Pearl and Hattie discover among the Hollywood hotshots is something far more sinister than expected.

American Vampire #1 features Stephen King’s first comic book writing based on original material. King’s story, titled “Bad Blood”, tells the tale of an 1880 bank robber and murderer called Skinner Sweet. After being taken into custody, Sweet runs into an old enemy while being transferred. The scuffle that ensues gives birth to the first American vampire—perhaps one of the very same creatures that Pearl and her roommate have the misfortune of meeting years later.

The vampires in American Vampire #1 are a unique breed: stronger and faster than their European ancestors, American vampires are also more muscular and vicious than their predecessors as well. Although the first issue of the series leaves the recently bitten Skinner Sweet a bloody heap in the middle of the desert, we already know that he will make a formidable blood-drinker if his personality traits carry over during the transformation.

American Vampire #1 sets the stage for what will undoubtedly be a very interesting vampire story. Assuming that vampires have successfully infiltrated at least part of America (and an influential part, at that) by the time Scott Snyder’s story takes place, the comic series appears to be asserting that a single man could be entirely responsible for the proliferation of vampires in the continental United States. Had the goal of the vampire who turns Skinner been to create a strong, clever creature capable of surviving and even thriving, he couldn’t have chosen a better candidate. After all, the same qualities that made Skinner such a renowned criminal and allowed him to evade capture for such a long time will allow him to survive as a vampire.

When combined with a compelling storyline, the beautiful visual style of American Vampire #1 makes this a must-read title, especially for Stephen King fans. We have a feeling that the king of terror has more than a few tricks up his sleeve for the remainder of the series.

Fear in Four Colors: I, Zombie #1

I'd been eager to check out Vertigo's upcoming I, Zombie series ever since it was first teased last year in the House of Mystery Halloween Annual. And now I've finally gotten my hands on the first issue, and have to say that the jury is still out on whether this is a book I will be reading on a regular basis.

To be clear, I don't regularly collect comics any longer for the most part, but I'm more than willing to make exceptions if I deem something worth my time. The thing is, I, Zombie is interesting, but the first issue really didn't give me enough to make an informed decision. Firstly, it's being touted as an utterly original take on zombie fiction and horror comics in general, but frankly, it's pretty obviously derivative, and reminded me very much of a cross between S.G. Browne's Breathers: A Zombie's Lament, and The Ghost Whisperer.

The story follows the travails of one Gwen Dylan, a very fetching young female zombie who must eat a fresh brain once a month to maintain her sentience and avoid reverting to a mindless, shambling corpse. She's sweet enough to confine herself to the newly deceased, which comes easy since she's employed as a grave digger. The catch is that when she consumes a brain, she gains the memories of the former owner, which inevitably compels her to investigate whatever unfinished business remains in that person's former life.

A cute little premise, but still feels somehow like something I've come across before in a lot of different variations. Which is all well and good, since, as they say, there is nothing new under the sun. It sill has the potential to be quite terrific. The book is written by quirky alternate history and science fiction scribe Chris Roberson. And most impressively of all, taking up the art duties is Mike Allred, creator of Madman. Allred's retro pop-art style could make just about anything cool, and it works with I, Zombie as well. The book is visually delicious, this cannot be denied.

Nevertheless, it's too soon to tell whether the Roberson/Allred team will make the book worthwhile in the long-term. The debut issue doesn't cover much ground beyond introducing us to the primary characters and the concept itself, and quite simply, it wasn't enough to immediately sell me. It definitely piqued my interest; the question is, will it hold it?

Fear in Four Colors: Victorian Undead #1

By Paige MacGregor

Sherlock Holmes has always been considered the world's greatest detective; a man with all the answers. But maybe that was just because he never had to face a zombie uprising. Until DC/Wildstorm's Victorian Undead, that is.

Following some abnormal celestial activity in the skies of London in 1854, rumors begin to circulate about the desecration of the newly deceased as corpses inexplicably begin returning to life. When two workmen succumb to the dreaded curse and Inspector Lestrade is left with a reanimated corpse on his hands, he immediately calls in Holmes to investigate the curious phenomenon. Although Holmes is in the middle of another case involving deadly automata, the detective and his partner, Watson, are coerced into taking Lestrade’s case and temporarily abandoning the investigation of the seemingly unconnected robotic assassin.

While the first issue of writer Ian Edginton’s Victorian Undead, published in November, doesn’t contain copious amounts of action, it does set the scene for a highly entertaining Sherlock Holmes adaptation, rife with both mystery and zombies. Adopting a more traditional approach to the combination of Sherlock Holmes and the undead—one not unlike that used by author Seth Grahame-Smith in his Jane Austen mash-up Pride and Prejudice and Zombies—Victorian Undead #1 shies away from the level of shtick and camp that readers might expect based on Tony Moore’s cover art and the bold “Sherlock Holmes vs. Zombies!” statement featured just below the issue’s title.

One of the best aspects of Victorian Undead #1 is that the issue isn’t preoccupied with scenes of zombie mayhem, something that undoubtedly would be detrimental to the overall storyline. Instead, Davide Fabbri’s artwork is as basic as comic book illustration can be, avoiding the high contrast, somewhat schizophrenic artistic style often adopted by modern horror comics. Given the prim and proper character of 19th century England, Fabbri's crisp, clean lines are highly appropriate, mirroring the organized nature of the society now faced by a hoard of zombies. Likewise, Fabbri’s depictions of the undead of 19th century London mesh perfectly with their surroundings—rather than appearing as monsters ripped from the diegesis of contemporary horror films, Fabbri’s zombies look like characters from Victorian Undead who have died and come back to life.

As with virtually every Sherlock Holmes adaptation, Victorian Undead is essentially a mystery, pitting the great detective against a seemingly supernatural event and setting the stage for a great reveal somewhere down the line. The first five issues of this Wildstorm six-issue mini-series are currently available from Wildstorm Comics online and wherever comic books are sold. Victorian Undead #6 is scheduled for release on April 28.