Vanish vol. 2

I wasn’t quite sold on the first volume of this new series from writer Donny Cates and artist Ryan Stegman.  While the writer has shown in the past that he’s usually very good about grounding fantastical situations in relatable human concerns, his efforts in vol. 1 didn’t really connect.  Stegman may have delivered some great art that channeled the glory days of early Image comics, the story felt like it had more in common with the tryhard edginess of that era.  So it’s with great relief that I’m glad to say vol. 2 of “Vanish” is a big improvement over the first, even if it doesn’t look like the series (like its protagonist) is ever going to grow out of its edgelord phase.

Vol. 2 picks up with its protagonist, Oliver Harris, in a mental institution.  He’s not there for long as it turns out that the big bad of the title, Baron Vanish, is back and is living in his head.  While this is definitely a bad thing, it might wind up being the edge he needs in his fight to acquire the power of the evil wizard’s followers.

Which is still something that Oliver is bent on over the objections of his girlfriend, Elynor.  She just wants him to get the help he needs so he can get better and back to being the man she fell in love with.  The problem is that Oliver may be so consumed by his figurative and literal demons that there might be no way back for him.  Which means that Elynor is going to have to make some hard choices for her future, and the future of those closest to her.

While there’s no drug use or abuse in this volume, there’s still plenty of graphic violence to be had throughout.  Multiple beheadings, dismemberment, people getting punched in the face with the stump of an arm, that kind of stuff.  “Vanish” is definitely not subtle when it comes to this stuff, nor is it all that creative either.  I get that Cates and Stegman are trying to tell a dark, gritty story about dark, gritty things, but the feeling of excess that defined the first volume is still present here to a significant extent.

What makes the difference here is that Oliver’s struggle has more resonance to it.  He may be struggling against the evil wizard that’s taken up root in his head, but his whole existence matches up well with an addiction struggle.  You can see the toll it’s taking on him and how his loved ones want to help him, but he just can’t help himself because he’s so fixated on grabbing onto this thing that he thinks is happiness.  Oliver’s tribulations in this regard are heartbreaking to watch, even amongst the gore and angst.

Adding more weight to this is what those closest to him are going through as well.  Elynor wants to help, yet can’t trust Oliver with his lies and potential for violence.  It’s what leads her down some dark paths that will also involve the recently dead Deacon as well.  He may be dead, but he’s about to find out that fealty to his friends will take him to some even darker places.  Which is a shame since he provides some of the rare moments of genuine humor in this volume.

All this leads towards a finale that’s bleak yet interesting.  It takes place sixteen months after the story’s climax and shows you how its key players are currently managing things.  For all of the story’s sensationalist touches, I could see the human struggles being played out here and I felt genuinely interested in them.  Which is something I wasn’t expecting to be after vol. 1.

Stegman is joined on this volume by V. Ken Marion, and Netho Diaz.  The best thing I can say about this team of artists working here is that they’re all stylistically consistent with each other, to the point where it’s hard to tell who drew what part.  It also means that they’re committed to the series’ dark, edgy aesthetic which they sell well here for better or worse.  The novelty of channeling early 90’s Image is starting to wear off, so it’s good that Stegman and company are also good at detailing the human drama on display as well.

Future issues of “Vanish” haven’t been solicited yet, likely owing to Cates’ ongoing recovery from the car accident he was in earlier this year.  I’m happy that he’s getting better, but it’s a damn shame that we’ve been deprived of his work in the comics industry for as long as we have.  “Vanish” may have required more of an investment than I expected to become involved in it, yet this second volume is basically what I was expecting to see in the first.  I’ll be back for vol. 3, regardless of how long I have to wait.