Supernatural: The Dogs of Edinburgh

The Dogs of Edinburgh and Emma of the Isles
written by Brian Wood
art by Grant Bond

It's one of those strange facts of Supernatural that few of its monsters could be considered "local."  Some are universal, more or less—angels, demons and the like—which may be derived from a late-European branch of mythologized Christianity, but which presumably don't geographically discriminate in their interactions with humans.  In other words, they don't belong to any place...on Earth, at least.  The remaining monster-foes are international transplants, mostly though not exclusively European.  It's also one of the show's greatest charms that, wherever it may be filmed (*cough* Vancouver), its mood is very Americana:  classic rock, Detroit muscle cars, and two leads with Texas accents, a predilection for denim and Carhartt, and an appetite for cheeseburgers and beer.  Wood entirely transplants this setting, sending Sam, and eventually Dean, to the Old World to face monsters on their own ancient turf.

In some ways The Dogs of Edinburgh segment of Wood's mini-series, in particular, doesn't entirely fit with the show's account of Sam's college career prior to his father's disappearance in the first episode of Season 1.  The show would have us believe Sam's interest in the "family business," so to speak, was minimal at best, and that, instead, his time spent at Stanford was dedicated mostly to not chasing monsters.  Sam's academic life is re-imagined here with a keener interest in history and mythology than law, and his love life, presumably before beginning to date his would-be fiancée Jessica, more pressing than his school work.  It's not exactly the Sam we know.

The Sam we do know shows up for Emma of the Isles.  Sam—Dean too, actually—is exactly the kind of guy to hop a plane on a moment's notice to come to the aid of a beautiful woman from his past, especially one with Emma's mystery.  Part one:  ancient, undying god (perhaps?) with a pack of obedient killer dogs squatting in a dilapidated 60s-era tenement on sacred pagan soil.  Part two:  selkies, or seal maidens.  Once Dean arrives in Scotland, Wood's series starts to feel a little more like Supernatural, despite the foreign setting.  His Winchester brothers don't strike precisely the same notes as the show, but he's got a quiet, interior appreciation for them that shows itself often.  And sometimes, sometimes, the chords ring true.  Best line:  as Sam waits for Dean's arrival on the red-eye, "Twelve hours to Dean" (Supernatural: The Dogs of Edinburgh: 84).  Second best line:  "So American, your names.  I swear, you two are pulp novel characters" (104).

However differentiable in tone and detail from the CW show, Wood brings a welcome perspective to the life the Winchesters lead.  Emma of the Isles, however improbably romantic her name, offers a refreshingly poetic attitude toward supernatural activity.  Sam and Dean do not appreciate their world, and generally for good reason, since the constant threat that being a Winchester brings prohibits them from seeing the less dangerous parts of that world.  On their first "date," Emma takes Sam to an old quarter of the city where they watch a ghostly funeral procession for a young boy killed by a passing cart.  Emma:  "I think they're so beautiful.  Such profound grief, shared by the entire community..." (20).

Grant Bond's artwork is sufficient but unimpressive and occasionally awkward.  Most of the series seems flat.  His versions of Sam and Dean are almost unrecognizable, and their physicality stiff and ill-proportioned.  Bond is also entirely incapable of capturing the antiquity of the geography that Wood's script depends on heavily.  Dustin Nguyen's watercolor covers, on the other hand, are beautiful and atmospheric.

Collects Supernatural: Caledonia #1-6

ISBN:  978-1401235062