The iconic 80s vampire film finally got a worthy sequel, in comic form, which follows the aftermath of the film. All the main characters are back, but it turned out the Emerson family didn’t live happily ever after. Not only are there new “Lost Girl” vampires to deal with, an old familiar foe returned and together they made sure the body count in Santa Clara has included the Emersons’ friends and family. The Lost Boys has been gaining speed towards its conclusion, as last issue we learned of an even greater vampire threat beneath the town. That leads us to this month’s issue where we jump back in where we left off. Is it good?
The Lost Boys #5 (Vertigo Comics)
This issue feels like it goes hand and hand with issue #4. Unfortunately, there’s no return for my favorite character, as he heroically sacrificed himself to finish off one of the main vampires. Too bad that didn’t quite do the job, as this issue shows that vampires are harder to kill than we thought. The cliffhanger ending from last time that laid out the master plan the baddies had been working towards introduces us to some new villains. The story moved quickly and there’s a lot of action, but that didn’t completely keep it from progressing the story, ending on another surprise note.
Writer Tim Seely has done a fine job building the storyline to this point. He’s shown the skill to match the humor/horror tone of the movie, as well as sprinkling in callbacks and nods to the decade the movie was from, which shows an affection for the material he’s working with. Starting last issue, he’s started to resolve the conflicts in the story. However, he still throws in some funny dialogue and moments, like Sam’s parting words to a vampire he kills, that would be right at home in an 80s movie. When everything seems to be wrapping up, he throws in a good surprise at the end to make you want to check out the next issue.
Scott Godlewski is back as the artist on book #5. His style in the book matches the tone Seely sets, as the characters have a slight cartoony look in their expressions that helps convey the humor in the dialogue and scenes. That’s not to say he can’t do the horror moments as well. There are quite a few confrontation scenes in this issue and he has no problem making the panels flow so you can follow the action smoothly. I especially liked the opening shot of a vampire, impaled upside-down and laughing, with a cross/knife stuck in his eye, which would probably be my pick to encapsulate the tone of the book.
There’s a new colorist in this issue, Michael Wiggam, taking over from Trish Mulvihill. I had praised the last few issues, as Mulvihill had made the colors and lighting really pop, with an electric feel to it. Everything still looks good in this issue, but before even checking the credits, I could tell a difference in the look of the panels. In contrast, a few of the revisited areas, like the cave with the lake in it, didn’t have the same otherworldly green glow. I also noticed the light of the pre-dawn sun was a little flatter–maybe “more realistic” is a better way to put it–in comparison to the sunset scene from last issue, where the red light seemed to wash over the characters. It’s just a preference thing, as I had gotten used to and enjoyed Mulvihill’s style, but some readers might not even notice.
Is It Good?
A quick pace and lots of action define the past two issues. I didn’t enjoy this one as much as number 4, as the reveals and confrontations had been a long time coming and this was more a continuation of that than a new chapter. I might have to revisit it after the series is complete next issue, as there are characters that are introduced in this chapter that may or may not appear in the finale. If this was it for them, then I feel the part of the storyline could have been skipped completely and instead focused on the reveal from the end of this one. In all, it was a fast, enjoyable comic that sets up the concluding issue well and resolves the fighting from issue #4, but doesn’t stand on its own quite as well as the last one.