Hideyuki Kikuchi

This was a proper nostalgia kick for me, since I used to swallow these books as a teen. For every flaw of Kikuchi's, there was something that had me falling in love with the series all over again. It's common for people to claim poor translation, and I really can't comment on that, but there are times when the writing is so clunky it's downright hilarious; there are some things that a mistranslation can't excuse.

The appeal for me is largely in the combination of world-building, the unique character of D, and Kickuchi's endearing blend of multiple classic genres. The setting is just wonderful: a sort of post-post apocalypse. Initially, a nuclear war sets man back hundreds of years, at which point the vampires of legend rise out of the shadows and take advantage of a wounded world. They rule over the now archaic human civilisation as "Nobility" and, picking up where man has let off, develop a highly advanced technological society. Over the course of time, they reach out to the stars and colonise planets; there are wars with extra-terrestrials, mankind finds its spine and rebels, which eventually leads to an even more chaotic and broken world. The "Capital" is a remnant of this technological society that now remains clean of and protected from the Nobility, but everything outside of this is "the frontier", which functions much like the lawless West. Bloodthirsty nobles are presented as a dying aristocracy that get what they can take, but are prevented from regaining total control by the presence of skilled bounty/vampire hunters. D, the main character, is a half-breed and therefore an outcast to both Nobility and humanity. Nevertheless, he is one such skilled hunter who people will call on when convenient. Along with a left hand infected with a sentient parasite, D's cold demeanour and hinted origins make for a unique and mysterious protagonist.

This first book was never really a highlight for me in the series, and it looks like that's still the case. Regardless of the role which translation plays here, Kickuchi's prose comes across very, very bad in English. I don't remember it being quite this bad - I'm hoping it gets better. It's a bizarre mix of gothic atmosphere, flowery description, laughable dialogue and messy, chaotic action. It's sometimes effective, but more often childish, clunky and confusing. At its best, it can be accepted as fun, pulpy schlock, which sits right at home with its origins. Kikuchi wears his influences on his sleeve, dedicating the book to Terrence Fisher of Hammer Horror fame, and Christopher Lee and Peter Cushing, notable in their roles as Dracula and Van Helsing, respectably. Shane, a quintessential Western, makes its presence known here also. The young boy in that is much like little Dan here, who idolises and looks up to D. Like the stranger, Shane, D waltzes into the lives of a family one day and acts as a mentor, protector, and even a farm hand. But he's only there for a season, and once he's saved the day, "off to the dusty trails" he goes.

Vampire Hunter D is pulpy because its influences are pulpy, but, if anything, it is elevated by its attempt to expand on its treading of cliches with big ideas and genre-blending. According to my memory, the stories do get better, and the world gets richer, but D remains as mysterious as ever. The book that started it all is an occasionally enjoyable - but mostly tolerable - foundation for a beautiful mess that would come after. I will be rereading the next book, but we'll see after that. My senses are still recovering from the assault.… (más)

This self-described Cthulhu Western is a very traditional western hammered into a very traditional Cthulhu mythos mold to make something uniquely fun. The writer wears his tastes on his sleeve, writing a western based deeply in the Hollywood 1950s movie tradition: famous gunslingers, nefarious train companies running honest farmers off their land, and deadly natives. Add to that Deep Ones, Cthulhu magic, and seemingly deathless villains, and you get quite an adventure.

This does mean, of course, that many of the more nuanced views that have started to shape the American view of the west, particularly recognition of the terrible treatment of Native Americans and Black people, are absent. The Native Americans in this story are enemies, if ones on perhaps more equal terms with the protagonists than was common in the old western tradition, and the only black characters are nameless servants.

One rather interesting element is the addition of the Japanese character Shinobi, and the recurring equation of his Japanese-ness with the Native Americans by malevolent white characters--it adds a wrinkle to the treatment of race in this one that is worth thinking about.

Overall, there is little original ground tread here, but the author makes no bones about it: This is a product of his love of old western movies, and his interest in Lovecraft's malevolent world building. If you go into it looking for that, you won't be disappointed.… (más)