Illustrator Macri, who has authored two graphic memoirs and two picture books, works with a charcoal palette and has a clean, expressive style that suits Kinney’s swift-paced story. She seems most comfortable drawing faces, and Kinney’s dialogue-heavy script gives her plenty of opportunity to showcase her strength. Kinney also offers snippets of Van Nostrand’s backstory, which—aside from the somewhat rushed climax—provide the only real physical action in the book and add a little swashbuckling spice to the mix. That said, the exact nature of Van Nostrand’s secret remains slightly vague, even after his eventual full confession to Traeger. A minor subplot involving Traeger’s newspaper rival could perhaps have been jettisoned in favor of building out Van Nostrand’s world, even if it consists mostly of well-worn horror/thriller tropes.
Traeger’s arc is more surprising, as it’s not her overt reportorial doggedness but her buried idealism (with a little help from a well-handled love interest) that saves her in the end. Van Nostrand ends on a cliffhanger of sorts, with more installments promised. Having spanned hundreds of years, a couple of continents, and a few genres, readers will be left curious to see where Kinney goes next.
Takeaway: This gothic thriller graphic novel freshens up its mix of genres.
Comparable Titles: Saladin Ahmed and Sami Kivelä’s Abbott, Scott Snyder and Rafael Albuquereque’s American Vampire.
Production grades
Cover: A-
Design and typography: A
Illustrations: B+
Editing: A
Marketing copy: B