VAMPIRELLA: YEAR ONE #4, from Dynamite Comics on November 30th, 2022, recounts the year when Vampirella came into her own as an adult, a fighter, and a leader – heading into her fateful trip to Earth.
The Details
- Written by: Christopher Priest
- Art by: Ergün Gündüz
- Colors by: Ergün Gündüz
- Letters by: Willie Schubert
- Cover art by: Collette Turner (cover A)
- Cover price: $3.99
- Release date: November 30, 2022
Is It Good?
VAMPIRELLA: YEAR ONE #4 is one of the cleanest, clearest, easiest-to-follow Christopher Priest/Vampirella comics we’ve ever read. On that point alone, this comic is worthy of praise. Is it the best Vampirella comic ever? No, not by a long shot, but we take the wins where we find them.
Christopher Priest’s final issue, before Vampirella takes her fateful trip, centers around the titular character’s last milestones before coming into her own. Reading more like a historical account than a dramatic story, Priest fills in oodles of backstory, political machinations, enemies made, and loved ones undone before hitting the big red button that sends Vampirella to Earth. If you wanted a lengthy view into what it was like to grow up on Drakulon, this is it.
However, the main criticism for this issue is the same for the arc as a whole – this isn’t a “Year One” story. Consider this arc a very lengthy collection of flashbacks. There’s no throughline to the plot. Technically, there is no plot. This arc is, at its core, nothing but world- and character-building, and on that count fails to justify its own existence as anything other than a novelty.
Does the lack of a plot mean this is a terrible comic? No, but set your expectations accordingly.
Still, this is one of the cleanest and clearest Priest/Vampirella comics we’ve ever read. You can understand the characters’ actions and where they are in the timeline. The plot progression is relatively linear, and the moments are well done.
Further, we’ve been critical of Ergün Gündüz’s illustrative style for its lack of integration into the panel settings and lack of movement. Thankfully, Ergün Gündüz’s art style is the best we’ve seen so far. The integration between the characters and settings is much improved. Action scenes show aspects of motion. And the overall look of the book looks less flat, digitally speaking. Definitely, Ergün Gündüz’s work is improving.
Keep scrolling for a closer look at the covers, or Click Here to jump right to the story description with some spoilers.
What’s It About?
[SPOILERS AHEAD – Click here if you just want the score without spoilers]
Check out our VAMPIRELLA: YEAR ONE #3 review to find out how she fared under the protection of her mother’s lieutenant.
We begin with Vampirella and Dreyvant Aepostyl’s Lieutenant traveling as nomads in the Drakulon wastelands. Vampirella offers assistance to the poor and starving where she can, but she’s forced to keep a low profile and avoid unwanted attention.
One day, Vampirella stops to give a beggar some water when she’s jumped by toughs who work for Dreyvant Aepostyl. When Dreyvant arrives, Vampirella demands his loyalty as a princess, and he agrees… when she becomes his wife. Vampirella finds Dreyvant’s terms unacceptable.
We conclude the issue with lost love, hidden sanctuaries, and a mysterious ship.
Keep scrolling for a closer look at preview images of the internal pages, or Click Here to jump right to the score.
Final Thoughts
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VAMPIRELLA: YEAR ONE #4 is a clean, clear, concise end to Vampirella’s time on Drakulon before she heads into her classic period on Earth. The dialog, pacing, and plotting are solid, and Gündüz’s illustrative art style is improving. However, this entire arc is not a “Year One” story, and the lack of a clear plot makes this arc feel like you’re reading a historical account rather than a story.
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