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amw - Up to now the new Sandman substance looks like more of a nostalgia trip for longtime fans, but Vertigo's first fresh first name, Border Town, deserves to become a hit in its own right.

Made by celebrity Ramon Villalobos, author Eric M. Esquivel, along with an artist named Tamra Bonvillain, a comic book titled as Border Town is a modern unreal set in a small city located at Arizona. Issue #1 is an instantaneous attention-grabber, attractive to lovers of Stranger Items or American Gods' new modern folklore. Political without being preachy, it opens with violence around the U.S./Mexico border--along with a completely different battle brewing nearby, as Mexican supernatural monsters emerge out of a gap in the fabric of truth.

But when he reaches his new school, he soon finds a personal reason to despise Devil's Fork. The boundary creates an inevitable cultural split in regular life, forcing Frank to pick sides on his very first day in college. Does he white-passing child --remain silent about his Mexican heritage, or does he inform people and permit them to select his side to get him?

Frank soon falls in with a local gang of adolescent misfits, whose dialog (unlike most tone-deaf comics about teens) is natural. Nonetheless, this is not only a story about racial tensions and higher school drama. Some type of monster is roaming the roads of Devil's Fork, preying on people's anxieties. Its debut also shows Tamra Bonvillain's colors play to Border Town's atmosphere, using luminous sunsets hinting in a supernatural universe in the space:

Teens-versus-monsters is not just a brand new subgenre, however, Border Town has a more cohesive notion than many. In shows like Buffy and Teen Wolf, the creators take inspiration from European folklore that has been left culturally neutral by years of reboots. They do not participate (or perhaps must participate) together with the roots of werewolf truths, or the symbolism of brandishing a crucifix at a vampire. These omnipresent European creatures have colonized mainstream horror, whereas Border Town chooses the familiar ingredients of a Teen Wolf-esque play, and divides them into a deeper narrative about Latino individuality and life on the boundary.

Issue #1 provides a punchy beginning and an engaging atmosphere, together with the combo of grittiness and sly comedy we would expect to see out of a Vertigo book. With a fascinating hook in the past couple of pages, you are left to wonder: How can these new unnatural people alter existence in Devil's Fork?

Border Town is published yearly, with problem #two outside on Oct. 3.

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