Steve Niles has unofficially been crowned the new King of Horror in the comic-book industry as of late, and it's merited. But there's more to his work than straightforward horror. This week, he plays up the film-noir flair inherent in his Cal McDonald property in Dark Horse's Drawing on Your Nightmares, and here, he adds espionage and action-movie riffs to this compelling and exciting vampire sequel. Templesmith's artwork, however, is firmly rooted in horror, and he brings an incredible level of tension to the story with his unconventional, sketchy style.
Ali, the woman from New Orleans who shares Stella Olemaun's hatred of vampires for their role in the death of her son, has documented proof that vampires are real, and she's approached by an FBI agent who promises that with that evidence, government resources could be dedicated to the eradication of the creatures. Meanwhile, Stella's crew expresses concern about her leadership, and elsewhere, a woman who claims to be the mother of all vampires takes an interest in Stella and the vampiric massacre in Barrow, Alaska.
Templesmith's foreground art is a convergence of seemingly crude linework, but it achieves an unsettling, gritty effect. The real strength in his art, though, comes with the addition of color. I don't know if he paints it, uses computer coloring effects or both, but he brings a creepy atmosphere to the story with his hazy forms, textured backgrounds and occasional explosions of color.
Niles transforms this story into something of a spy thriller at one point. The vampires employ deception as one of their weapons here, whereas before, it was all about their power. The vampires are still portrayed as monsters, but they're no longer just animals hunting their prey. The story has shifted to revolve around their survival. There's also a car chase scene -- yes, a car chase -- in this issue, and it actually works pretty well. One can see a definite cinematic flair in the story.
This issue also brings with it a clearer picture of the people who surround Stella. They express opinions here; they express their fears. They're no longer these stoic, uber-loyal zombies. Stella has been a compelling character, but it's nice to see some personality showing through in these peripheral characters whose presence have empowered the main protagonist.
