"And Men Shall Call Him... SPANGEL!"

What Is It?: Angel #27- Boys and Their Toys, Part Two (Written by Brian Lynch; art by Stephen Mooney)

Timing: Directly after Angel #26.

Warning: The bigger spoilers will be written in black text. Simply highlight to read. As this is a review, there will be some minor "spoilers" sprinkled throughout the text that don't warrant being hidden. If you have not read the issue and don't want to know anything about the plot, don't read this. Spoilers for previous issues will obviously not be hidden.

REVIEW: This was a bittersweet reading experience... kinda. It's hard to define, really. In a way, this is the last Angel story that Brian Lynch and Stephen Mooney are going to tell. And nope, I don't mean as a team. They're both spent a lot of time with Angel, and both of them have said that after this, they're moving on. So this is sort of an end. But they do have the Last Angel in Hell annual next month, which is kinda Angel, so that made this a bit less sad. Also, Brian is signing on as the writer for the Spike on-going next year, so again, less sad. It didn't have that "Is this really the end?" feeling that the final issue of After the Fall was laced with, but that might just be because it's a funny issue.

It continues the story from where the last installment left off. Everyone at the Sci-Fi Convention has become the characters that they were dressed as... and Spike was dressed as Angel. I was thrilled to see that Spike wasn't just behaving as his grandsire would... he was behaving as he thinks Angel would. Saying things and thinking things and doing things that he thinks Angel would. It gives a funny, critical, and at times sweet look at how Spike really thinks of Angel, which is something we rarely got on the show, as it's pretty hard to chip through Spike's sarcastic exterior. This issue has way more action than anything else, though, so it's not as if it's a full out character study. It's a glimpse into Spike's head, and as I mentioned in my review for #26, a really cool launching point for his solo series.

So, the action. There's a lot of it. It doesn't feel like too much, because the characters never really get lost in the action, but I do wish we had been able to spend a little more time with Spike, while he was (as he called himself) "Angel #1." Spike's emotional reaction to realizing that he wasn't Angel felt pretty quick, and though it was earned not only through this issue, but since the first time we saw how much Spike looked up to the guy (Buffy, Season Two), I do wish there was a bit more back-and-forth dialogue to play with there. And the thing is, there certainly could have been. There is an entire page where Angel essentially recaps what happened in the previous issue. But why? This is a direct follow-up of the issue, so we shouldn't really have to hear Angel talk about it in page space that could otherwise be used for more character development and action. In the grand scheme of things, it's just a page, but I do think it could have been better utilized.

There also aren't as many laugh-out-loud moments as the previous issue, but I don't fault that much. Most of this is battle dialogue and quick interactions between Spike/Groo and Angel/Jeremy (no, not in a shippery way, you slashers), so there isn't room for any full comedy scenes like the Last Angel in Hell bit and all the funny Groosalugg stuff from the previous issue. What we have here is still funny stuff, though; especially the scene where Spike as "Angel #1" and Groosalugg face off against a group of squishy-headed "aliens" that believe they're from the planet Skrum. One of the lines that I did lose it on was when an alien holds a laser to Groo's chest, saying "You! Carbon based, Fabio-esque lifeform! Take me to your leader!"

All in all, it's a fun comic with a little bit of character insight. It's not as much of a riot as the previous installment, but I don't feel like it's trying to be. It's nothing earth-shattering or shocking, but it is a highly enjoyable reading experience that, as with all Brian Lynch's writing, feels 100% like Angel. If this is indeed the last Angel comic that Brian Lynch ever writes (though, I have a dream that one day he'll come back, years later, when the series is past #100, to finish off the series with one last, epic, final arc), then it was a solid end to my favorite run of my favorite comic.

Art: Stephen Mooney's likenesses are stellar, as always. He's less fluid with the action in some parts than I would like, but the vast majority of the panels here are really good. I've written paragraphs and paragraphs about Mooney's art, and I feel like I've watched it grow so much. This is good stuff; not his best (his best certainly seems to be Last Angel in Hell, because from what I've seen damn), but still solid stuff. The panels are just super busy, what with all the fighting fans-turned-warriors in the background, so sometimes the details of a character's expression loses some of the time that could have been spent on it in a quieter panel. The story called for it though, so I'm certainly not faulting the art at all. It was definitely something different from Mooney, whose last two Angel projects were the epic and tragic After the Fall and Not Fade Away adaptation, so the jump to comedy here must have been tough... but it was well done. I wish the man would stay on Angel, because it's clear that the title is better for having him play a part in it, but if we can't have him now, all we can do is wish him luck in his next projects and cross our fingers that he'll want to play in Angel's world again someday.

Covers: Both of the covers are better than last time's, which were already fantastic. Mooney's Spike/Angel split might be his best likeness of both Spike and Angel ever, as well as his best use of shadows. The faces are just perfect, and wow I hope this cover is used for the Volume Six hardcover. It's simply a perfect piece of Angel art. Nick Runge's is also very cool, featuring Angel and Spike standing in front of a poster of Angel that Spike's face has been taped over. Similar idea to Mooney's, but completely different execution. And I dig both.

Characters We Know: Angel, Spike, Groosalugg, Jeremy.

Extras: In the back of the book, there is an interview between IDW Publishing and Angel himself (likely written by Bill Willingham) that talks a little bit about what to expect in Willingham's first arc, Immortality for Dummies, which kicks off with #28 (which has it's own title: The Crown Prince Syndrome). Angel's voice is funny, and slightly mocking, which is perfect for a piece like this. I love this kind of meta stuff, and it's just getting me more excited for this arc that I've been looking forward to since the announcement at Comic-Con. Also, we get a quick interview with Bill Williams, who is going to be writing four page back-up stories in each of Willingham's issues. Angel is going in a whole new direction, and I can't wait to see how the two Bills handle it!

Also, my Angel: After the Fall fan film came out today! Check it out and please leave feedback here or on the YouTube page! http://www.youtube.com/watch?v=ZtbCo61IIXs

Rating: 8/10

A Halloweenie Treat

What Is It?: Angel vs. Frankenstein- The Heir (by John Byrne)

Timing: Early 1800s, after the action of Mary Shelley's Frankenstein.

REVIEW: Much like John Byrne's Blood and Trenches, this was a treat. It was told in a different style than the Angel stories we've been getting that have been set in modern times, offering a dark, gothic, and truly creepy tale just in time for Halloween. Unfortunately, I'm not in time to review it for Halloween, but... yeah. I really enjoyed it, and I think it's just what the doctor ordered.

These kinds of tales should be what IDW looks for to spice up the Angel title. Brian Lynch's one-shots and the current Boys and Their Toys two-parter (Part Two still hasn't come out in NY! No matter how busy I am, I do tend to drop everything to get my Lynchcomic reviews out, because, to be honest, they're at a higher level than any Buffyverse comic being published now) have been fantastic, but it's clear that the series is in a transitional period before Willingham takes over with the Immortality for Dummies arc in December. Stories like this one, though, help remind us where Angel comes from. As much fun as we can have with the comedy issues, and as heroic as Angel is now in the more dramatic issues, this served as a harsh reminder to me where he comes from. And that, at this point in the series, is essential. Each season was loaded with flashbacks, but the on-going series really hasn't seen much of that until now, other than Blood and Trenches, which showed a troubled but essentially good Angel. This... not so much.

It's a battle of the villains as Angelus and Frankenstein go head to head for an inheritance that neither of them really deserves or, considering what the inheritance has dwindled to, really want. It's more of a war of ego and honor between two monsters, one whose heart turned cold because of the way people treated him, the other who likes to snap necks and ravage virgins. So yeah, it's clear that Frankenstein is the better of the two here, but his nonchalance about taking human life to get what he wants throws this story into a dark, dark place. There really are no heroes, no one to root for or get behind. It's just two dark forces clashing, and it's damn chilling.

The language Byrne uses to tell the story is great. It genuinely feels like it takes place in that era, and besides a few awkward turns of phrase ("...He has been called Angelus. A name given to him as an ironic joke." Eeek.), Byrne uses dialogue and Frankenstein's expository monologue to set the tone here. Despite the idea having comic book fight written all over it (I mean, what hero hasn't fought Frankenstein?), Byrne takes the realistic route and totally succeeds. It's nothing earth shattering, but it's an enjoyable and well-written comic that works as an Angel tale, a Frankenstein tale, a standalone horror tale, or a start to a longer Angel vs. Frankenstein saga. And man, I hope for that last bit.

Art: So, so different than Blood and Trenches. I loved the washed out, newspapery look of that book, and I thought we might get something similar here, but nope. Byrne's likenesses are as strong as always, but the darkness of the story seeps through into the art. It's shadowy without being too dark, bright in places without breaking the mood... actually, it's almost as if it's a comic being told by candlelight. Colorist Ronda Pattinson should just color all the Angel comics, because her work here isn't just attractive, it also works perfectly with the story. Great, great art.

Covers: Not my favorite by Byrne. There are a lot of arms, and it is sort of messy. All I can think of when I see it is, "Is that Frankenstein's leg? How is it there. He's so tall that his knee caps are at Angelus's shoulder. Heh. Why? They're in a forest? Why is Angelus holding her that way? Looks uncomfortable for him. Why is her hand bent that way? Looks uncomfortable or her. Is Frankenstein stroking Angelus's hair. Sexy. But no." So not the best. Byrne showed in Blood and Trenches that he's way better at interiors than covers, but this is definitely below his usual standards. There are some very cool things about it, but they're all trumped by the sheer awkwardness.

Characters We Know: Angelus. Oh, and he hasn't appeared in the Buffyverse until now, but... Frankenstein, who you should know. If you don't, leave this blog now. Go. Shoo.

Extras: So I'm a geek. Know this before you read what follows. I love TPBs and hardcovers, and I love seeing what goes into them and what doesn't make it. As of now, it seems that this book doesn't really have a place in any collection. So, geek that I am, here are a couple of suggestions.

Angel- Volume __ - Short stories- Make it a part of the on-going series. Throw it in a hardcover. And no, not randomly. Wait until there are a bunch of one-shots. Fables, Sandman, Y: The Last Man, and so many other series do it. Have it start with Masks, then this, then Last Angel in Hell, and and the next few one shots that come out. Whatever volume hardcover has been published by then (I'm thinking Angel- Volume Seven- Immortality for Dummies) make it the next one!

Or...

Angel vs. Frankenstein TPB- I know what you're saying. "But Pat! It's only a one-shot! It would just be the very same comic in an ill fitting larger cover!" But "wait," I say! Make it a friggin' series. It works. The ending calls for it. It should happen.

Rating: 8/10

Updates

Reviews will be back on track soon.

Reviews for ANGEL: ONLY HUMAN #3, FALLEN ANGEL: REBORN #4, and ANGEL vs. FRANKENSTINE will be coming by Wednesday.

Also, I'm closing down the sister site to this blog, http://patshand.blogspot.com



Keep up with my new stuff at these sites:

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The Closest "Buffy the Vampire Slayer" Has Ever Come to Jumping the Shark

What Is It?: Buffy the Vampire Slayer Season Eight, Issue #29: Retreat part IV (written by Jane Espenson; art by Georges Jeanty).

Timing: BtVS, Season Eight. Right after "Retreat part III."

Warning: The bigger spoilers will be written in black text. Simply highlight to read. As this is a review, there will be some minor "spoilers" sprinkled throughout the text that don't warrant being hidden. If you have not read the issue and don't want to know anything about the plot, don't read this. Spoilers for previous issues will obviously not be covered.

REVIEW: This was my first reaction to the issue, the day it came out:

"Okay.

I'm sorry. I love Joss Whedon. Out of every writer I've ever worshipped, his work has just GOTTEN to me. It's great. They played Dr. Horrible today in my New Media class, and I basically cheered. And my favorite Whedon work? The Buffyverse. It's close to my heart, and, in my opinion, one of the best stories ever told.

I've had my issues with Season Eight since #17, that's for sure. It's see-sawed from bad to really great, but it's been consistently (at least) good for a while now.

But after reading this issue, I don't know what to think. It felt like Buffy as done by Michael Bay if Bay had a slightly better ear for dialogue. It was a mess of action, melodrama, and people who resemble the characters I've come to love fighting and killing faceless humans. What was the big end to the whole getting rid of magic thing? Not showing the world that the slayers were demons. It was to start using guns and torpedoes against an army. What was the RESULT of the whole getting rid of magic thing? Colorful goddesses coming out of the ground. What? Super cartoony, and utterly non-Buffyesque. In tone, characterization, and even down to the ever changing, maybe non-existent theme, this is not the Buffy I've grown to love for seven seasons and a whole bunch of wonderful comics.

I don't know what to think. It's the same team. Is Whedon spread too thin? Maybe. Dollhouse is great. Maybe that is taking up all of his time. But what about Espenson? Her last two issues were very good, and the one before that was also decent. And "Briar Rose" was phenomenal. What is going on? I'm just left scratching my head. Are the flaws inherent in the plot? Is the story just too big?

Whatever it is, my suspension of belief was completely blown, and it's breaking my heart."

I decided that, before I posted my review, I'd let myself cool off. I read it again. I felt no better about it. Then, one night, I turned on "Surprise," one of my favorite Buffy episodes. From the dream sequence in the beginning, to the cliffhanger ending, the whole thing has a very foreboding, Gothic tone that really defined the early series for me. But here's the thing. All the way to the end of the televised series, I was never really let down. Sure, Season Six and Seven had some clunkers, but they also had incredibly strong moments that made up for the problems. These seasons were still good Buffy stories, and they were great television. And Season Eight started that way too. #1-16, excluding #5, were great Buffy stories. The season was on its way to becoming the best season since the epic fifth year. But then, things started getting messy. The plot started making no sense. Scott Allie kept having to explain things that were happening off stage, shaking his head at readers for not realizing that these things--which are essential to the plot--didn't matter for "the story." We were expected to believe that humans no only accepted vampires, but knew that vampires were killers... and that this was basically a unanimous view amongst humanity. Okay. Very strange, very un-Josslike, but sure. I trust the man, so I'll rock with it.

And then Jane Espenson started cleaning house a bit. The first installment of her game-changing arc felt way too rushed, but did set things in motion. The idea of slowly getting rid of magic was suspect, but then again, the arc had just started. The next issue was better, and the next issue--last month's #28--was actually really great. Things started to seem real again. I started to allow myself to reinvest in these characters.

So I don't know what the heck happened this month, but this is not Buffy. This isn't the same series that "Surprise" was a part of. Not even close. It's sloppily written, silly, and doesn't even take itself seriously. The scenes where the slayers and friends are handing out guns should be grave and solemn, because that is the one thing that they never wanted to do. But the scenes are played for comedy. They're long, expositiony, and outright boring. The emotion isn't there in those scenes, or any other scenes in the issue. Willow has a random breakdown, after the calm she achieved in last month's issue, and it reads like a soap-opera gone the way of comics. I really, really don't get it.

The rest of the issue is basically a war comic. None of the human life seems to matter to any of the characters or the creative team, because it isn't even a plot point that they're killing humans. All we see is guns and torpedoes firing, no reaction, just a lot of ohshittery when the slayers realize they're losing, and then yayness when they get a bit of a break. When Angel killed a human in his series, it was a major thing... but in this issue, this choppy, speedy, sloppy narrative doesn't miss a beat. It doesn't matter in the book, and that is just weird to realize that Buffy the Vampire Slayer has become this.

Can Joss Whedon save it? Yeah, obviously, he's Joss Whedon. But it's going to take a lot. Angel: Aftermath was bad, and that was a somewhat standalone arc by a writer who won't be returning. This is a key piece in the puzzle of Buffy: Season Eight and it's written by Jane Espenson. What the...?

By far the worst issue of Season Eight and the lowest point of Buffy the Vampire Slayer as a whole. Boring, badly written, and damn near insulting. I don't care about what's happening to the characters because it doesn't feel like them. It's not just a bad Buffy story... it's a bad comic.

Art: Busy, busy panels. I really can't fault Jeanty in this one like I have in the past for opting to not include a lot of details, because there is so much going on in any given panel. Some emotion from the characters in the art might have made the book a slightly better read, but in this instance, Jeanty isn't really at fault. It's the story. The art isn't great, but it's passable.

Covers: The main cover, by Y: The Last Man cover artist Massimo Carnevale, is really cool. It features Twilight flying over a stretch of mountains, and it's the best cover image we've gotten of this season's Big Bad. It would have helped if Twilight was featured in this issue, but it's still a very cool cover. Jeanty's, not so much. While it attempts a #9 like effect, both in cartooniness and the pop-culture reference, the cover is just ugly. The faces are sloppy, and everyone is nearly unrecognizable besides Buffy, Xander, and Rowena. I guess the girl on the far right could be Satsu, but there is no definition to her face. The girls on either side of Xander might be Faith and Kennedy, but which is which? They both look like interchangeable, angry brunettes. Thankfully, Jeanty's cover for next month's #30 is better than this, because this is just ugly.

Characters We Know: Xander, Dawn, Oz, Giles, Faith, Andrew, Satsu, Buffy, Willow, Kennedy.

Rating: 1/10

Most Anticipated Since #17

What Is It?: Angel #26- Boys and Their Toys, Part One (Written by Brian Lynch; art by Stephen Mooney)

Timing: Things are finally back in chronological order. A while after Angel #22.

Warning: The bigger spoilers will be written in black text. Simply highlight to read. As this is a review, there will be some minor "spoilers" sprinkled throughout the text that don't warrant being hidden. If you have not read the issue and don't want to know anything about the plot, don't read this. Spoilers for previous issues will obviously not be hidden.

REVIEW: The idea has been going around for a while. Brian Lynch first mentioned that a hack screenwriter would be making a crappy movie out of the events in LA, and that our heroes would go to check it out. Back then, it was said to be part of the SPIKE series. But instead, it kicks off something that is as sad as it is hilarious... Brian Lynch's last three issues of ANGEL ever.

Why funny? Well, the plot is insane in the best way possible. Angel goes to San Diego Sci-Fi Festival ("Rip-off of the Comic Con," says Connor) and catches a screening of "Last Angel in Hell." It's starring Nick Cage as Angel, Jorge Garcia as Gunn, a dog as Betta George, and a lady as Spike, who is Angel's love interest. To top it all off? It's directed by Michael Bay. Okay, it's doesn't say that exactly, but the director is a spitting image of Bay, and has a similar love of explosions. So it's Bay. Along with Angel, we get a sneak peak of the film that is glorious in its complete cheesiness (get the entire thing in Brian Lynch's "Last Angel in Hell" Angel annual this December). The scene with the movie and the crowd reacting is just sheer brilliance, commenting on shitty action films, the nature of fandom, and the canon issue in five of the best comedic comic pages ever. While the "Last Angel in Hell" material is funny for obvious reasons (and even funnier to watch Angel witness this complete mockery of his life), the bespectacled fellow that asks Bay about the canonical status of a "Last Angel in Hell" tie-in comic is Brian Lynch's wink at his loyal readers. It must be frustrating writing for a fandom as canon-obsessive as this one can be, and this little fun-poke is just what the Buffyverse fandom needs to lighten up about the canon issue. Why are we like this guy, who has "lost much sleep" over the canonical status of a story? If the story is good, the story is good. That's it.

And this one, even putting the hilarious "Last Angel in Hell" stuff to the side, rocks. Groosalugg's flaming sword--the weapon that killed Angel and Connor--has gone missing. Why? "Not many weapons can claim it killed you. Three or four, at most. So far." A standout line, though it isn't as shiny as it would have been if the grammatical error had been caught. It should have read "Not many weapons can claim to have killed you" as opposed to "it killed you." The former refers to the idea that few weapons killed Angel, the latter makes it seem as if there aren't many weapons that would claim the flaming sword killed Angel. English major. Sorry. The moment is actually really cool, and not only because it's awesome to see Angel, Groosalugg, Connor, and Kate (in her normal clothes, thanks to Mr. Mooney) hanging out together. It also shows how Connor is web-savvy, how research is going to change drastically with use of the interwebs.

Okay, rambling. It's late. This is what happens when I try (ahem and fail) to get reviews out on time with my schedule.

The issue essentially becomes an Angel and Spike team-up when their paths cross at the Sci-Fi Festival. It's got all the comedy of The Girl in Question, though more arc significance. Instead of seeing Angel and Spike chase around an ex-love (which was admittedly fun), they simply deal with each other in a very post-After the Fall way. Their relationship has changed, and this reflects it. Angel is aware of Spike's unspoken affection for him, and despite the consistent snarkiness, they're able to... almost hang out. As friends. Spike openly admits his lack of direction now that he has a completely open path before him, and Angel understands that. These characters have come a long way since Not Fade Away, and it's great to see some of the seeds planted in #17 finally starting to grow.

Also, Jeremy is in this. Yup, Spike's buddy from Spike: After the Fall that bit it, thanks to Illyria tragically misunderstanding something. He fits in perfectly with Angel and Spike in the setting, which makes me thrilled that Brian Lynch confirmed the character would appear in Spike Unlimited.

There is a big surprise at the end (though it isn't a surprise if you've been following the covers), that makes this episode at sort of sequel to the Buffy: Season Two episode, Halloween. The same spell goes down, turning evil assassins that came to the festival to purchase the fiery sword (guess why?) into cute cuddly bears and it turns Spike into... well, read the issue. It's great, and it's going to make for some hilarious and possibly heavy and character-reveally moments in the next installment.

Brian Lynch excels as much at a funny issue as he did with the heavy stuff in After the Fall. It's the funniest thing I've read from him yet, and that's including all the amazing stuff from Shadow Puppets. I mean, check out these lines:

"Angel, I have planted a flag at the beginning of the line to enter the auction room. A few similarly dressed warriors tried to invoke something called 'cutsies' but I held my ground."

"Hey, look at you yelling, which is the opposite of subtle."

"Horses, prepare to be played!"

"It had commentary on the human condition and love and drama and that stuff is great. Also I love explosions. And hell, with its flames and crap, was like one big ongoing explosion."

But yeah. You get the point. Very funny. Very appropriate for the characters at the point in the series. Forward movement, engaging storytelling. Just what the series needed.

Brian Lynch is on the regular ANGEL title for one more issue that ties up this storyline, and then after The Last Angel in Hell, he's said he's done with the title. He'll be writing the on-going SPIKE series, but this sort of feels like the end of an era. So sad, but I can't wait to see what Brian Lynch brings to our other favorite ensouled vampire and what Bill Willingham brings to ANGEL.

Art: The art is very good. Not Stephen Mooney's best or most consistent, but still very good. The opening pages are all out great, and there are a lot of perfect panels spread through-out, but there was one character that seemed to really suffer... and that's Jeremy. I wasn't really a fan of the way Mooney drew Jeremy, and while that would normally be a footnote, it's a bit more important here because a) we haven't seen Jeremy in a long time and b) he's in the issue a lot. Mooney's Angel, Spike, Groosalugg, Kate, and Connor likenesses are as great as they've been since Mooney's wonderful After the Fall arc, and he does great with the comedy here. I just would have liked a bit more details on Jeremy, who seemed to get pushed to the side a bit here.

Covers: Two great ones. Nick Runge's cover shows Angel and Spike surrounded by fans at the Sci-Fi festival. Spike looks great, and the setting is really cool, but something is off with Angel's face. Still a very cool cover. Stephen Mooney's is just as interesting, appearing to be Angel as an action figure. Both covers work hand in hand to show how big Angel has gotten in his own fictional world, winking at the real world Angel fans with a bit of meta-fiction.

Characters We Know: Angel, Spike, Connor, Kate, Groosalugg, Jeremy.

Rating: 10/10

As Fun As You'd Expect

What Is It?: Fallen Angel: Reborn #3. (Written by Peter David; art by J. K. Woodward)

Timing: Directly following Fallen Angel: Reborn #2. The miniseries takes place in Angel: Season Five, between "Time Bomb" and "The Girl in Question."

Warning: The bigger spoilers will be written in black text. Simply highlight to read. As this is a review, there will be some minor "spoilers" sprinkled throughout the text that don't warrant being hidden. If you have not read the issue and don't want to know anything about the plot, don't read this. Spoilers for previous issues will obviously not be hidden.

REVIEW: If you caught the first two issues and liked them, you'll like this too. It's nothing really surprising, nothing super insightful, but it's a fun action-adventure starring two awesome female characters. Illyria and Liandra, the Fallen Angel, really play very well off of each other. Illyria's first person narration gives insight into Liandra due to Illyria's cold, almost scientific observations, and the snark that Liandra throws Illyria's way makes this pairing both funnier and more tense.

I usually like to give really long reviews that really get into why the issue was good, but the fact of the matter here is that there isn't much plot or character development to talk about. And that's not a bad thing in this case. The plot is simply that Illyria is trying to get her icons in order to become her full self once again. It's your essential epic quest. And we already know what happens to Illyria after this, so, as a rule, this book can't really do anything character-changing. And yet... it succeeds. Partially because it revels in the endless fun that is making Illyria fight creatures. Illyria fighting creatures never fails. What it also does, though, is tell the story through visuals. In a way, it excels at what ANGEL #25 failed at. It takes the story from point A to point B, but still manages to tell an almost entirely visual story. It has sight gags, cool kills, and a stunning setting.

This seems to happen once in every Fallen Angel: Reborn issue, but there is one line where Illyria speaks out of character. Peter David loves sarcasm--hence Liandra--but Illyria doesn't. Illyria just wouldn't say "Oh, wonderful-" when she's being attacked by a polar bear. But the rest of the issue, which is narrated by Illyria's inner monologue, is consistently in character, so give it up for Peter David!

Art: Very nice. As I mentioned before, the issue is very visual, so Peter David really leaves a lot of the storytelling to J. K. Woodward, who does a phenomenal job. Get this dude to do some more ANGEL books! I've got an interview with Mr. Woodward coming soon, so keep a look out.

Covers: The three covers all feature Illyria and Liandra in this snowy dimension. J. K. Woodward's main cover is consistent with his interior work, and my favorite cover of his we've seen so far in this miniseries. It features Illyria and Liandra staring at a lanky, looming monster covered in a sheet of ice. Woodward's other cover pays homage to MADAGASCAR, and it's a riot. Runge's cover is also exceptional, featuring our two heroines in more iconic comic book poses as snow falls on them. Me gusta.

Characters We Know: Illyria.

Rating: 8/10

It's a mad world

If you missed my super late review for ANGEL #25, click here.

My review for FALLEN ANGEL: REBORN #3 will come out by Monday.

My reviews for ANGEL #26 and BUFFY #28 will be up on Wednesday, on time!

And now, I have some me to talk about.

I've been doing short films with my production company, Stinky Burger, for a while now. We've made a lot of comedy and a lot of horror, so I figured it was time for something a bit... as in a lot... different.

So I wrote and shot this film called "The Dreams in Which I'm Dying." It's a dramatic short, starring two great actors that I had only worked with in theatre stuff prior to this. They are Dennis Allen and Kari Nicole Washington, and you should really check them out.

Also, check out the film:



Coming along with the ANGEL #26 review is the first video promo for my ANGEL fan-film, "Gamers: After the Fall." It features Gunn (as played by Dennis Allen) calling out... eh, well you'll see.

Stay tuned!