Angel's New Beginning

What Is It?: Angel #18- Aftermath part I (written by Kelley Armstrong).

Timing: Probably a week after Angel #17. Angel #17 was set a month after LA was saved, and Angel's narration reveals that this also takes place a month after the "return to normalcy." The Gunn issue, which fills in what happened to him between Angel #17 and #18, will likely show exactly how much time passed between these.

REVIEW: The issue was a decent start to what looks like it'll be a good book. Angel: After the Fall really set a standard of greatness, so it'll definitely be tough for this book to live up to it. While Kelley Armstrong doesn't seem to have the strongest sense of the characters, she dives right into the plot and it seems as if she knows exactly where its going. The story is pretty tight around the edges, plot wise, and seems both interesting and thematically strong.

Some of the best stuff and worst stuff of the issue concerns how it connects to After the Fall. I'll tackle the plus side first. I love how the Lords are still sending assassins after Angel, and how one is even addressed by name. It feels like it's building on the stuff After the Fall started, developing continuing plot threads. It makes the series have that cohesive feel that I was really hoping it would. However, not everything in the book really helped add to that feeling. The fact that Angel gave Lorne a card that a) said Angel Investigations and b) had the Hyperion's address on it made it pretty clear where the series would be going. But at the open of Aftermath, Angel is still very confused. It's only after he gets advice from various demons he's fighting/killing--a scene that is both funny and awkward--that he decides to re-open Angel Investigations. That made my eyebrow archy. Then, later on, when he runs into Kate (I'll get into that later), she suggests he open up shop in an abandoned church. More archy. Then, I remembered. This issue was written before the script from #17 was even finished, as evidenced by Kelley Armstrong's message board and Brian Lynch's blog. Armstrong had obviously gotten the characters she could and could not use, but it seems she wasn't briefed on where Angel's head is at at the end of #17.

There are a bunch of very good scenes. The "screening process" montage, where Angel and Kate (again, I'll get to her later) deal with shady clients was great. Very funny stuff. The effects of Angel's celebrity status and the other negative effects of the Fall are handled very nicely, making for some funny scenes as well as some heavier stuff. The scene in the issue that's obviously supposed to rub you wrong--Angel not being able to realize that a client is in actual trouble--does rub you wrong, so again, Armstrong is really good hitting all the plot points she wanted to. The smaller cast makes it easier for her to concentrate on getting Angel's voice right, and she, for the most part, doesn't write a lot of dialogue that jumps out as out-of-character. It's hard to hear the actors voices than it was in After the Fall, and lines like "As much fun as it is, chasing down scumbags like you," don't really help, but I suspect her understanding of Angel's speech patterns will develop as the series goes on. She has a very good handle on Connor, both the way he thinks and the way he speaks, and she doesn't write a bad Kate either. There were definitely times in reading this that I thought she was writing Kate too much like early-Cordy, specifically when she said "Why not? Client wants us to stop a sacrificial ritual and we fail? Not like they'll return to get their money back."

Now, to Kate. Kate's return. She had a nice reintroduction to the Angel title in #7, but she hasn't crossed paths with Angel until now. And within a minute of meeting back up, Kate is linking arms with him and planning the future of his business. The former irks me more than the latter, but their meeting should have at least warranted an entire page. I don't like that three entire seasons of not seeing each other is solved in three extra tiny panels. The angst or awkwardness didn't really need to be played up, but I just found it strange that she, after not seeing him for so long, latched onto him so quickly. It works as a plot point, definitely, but I want it to also make sense for the characters.

Notice all of the issues I have tend to be in the early section of the book. From the re-opening of Angel Investigations and on, everything is gravy. A lot happens, a few new characters are introduced, and some new mythology is explored. As if Angel didn't have enough corporate adversaries to worry about in the past, two new suits show up and claim that they're part of a city sanctioned committee to "handle the apocalyptic fall-out." And it seems to be pretty major. I'm excited by the immediate ambiguity of these characters, who seem to have good intentions but wouldn't be out of place in a Wolfram & Hart office.

And the issue ends on, you guessed it, a cliffhanger. No spoilers on that front, but it will definitely leave you excited for more.

Overall, I enjoyed the issue despite its problems. I'm looking forward to this book getting better, and I trust IDW so I know it'll wind up being very, very good.

Art: So I liked the story, liked the covers... but the art. But the art. For a superhero comic, it would be very good. Maybe even for a horror comic, as Dave Ross draws one of the most badass monsters I've seen. What he's not very good at is drawing women or capturing character likeness. I totally understand that Franco Urru needed a break after all his work on After the Fall, but I think Messina or Mooney might have been a better choice. Angel doesn't really look much like himself, but the real issue here is Kate. Her hair... her mannerisms... I don't know. It just really doesn't work. Take the scene where Kate runs into Angel again. Really, the hair is just badly done. Angel's likeness isn't that bad, and if it were just that, the art wouldn't really be an issue because it would for for most other comics. But Kate. Most of the issues I had with the actual writing are kinks that could and will likely be worked out as the story goes along, but the art is the only big point lost for this issue.

Covers: Gabriel Rodriguez has been one of my favorite artists since I first saw his work on Chris Ryall's adaptation of Clive Barker's The Great and Secret Show, which I enjoy more every time I read it. He's also the artist of Locke and Key, which is my favorite IDW title after Angel and Spike. His cover here is good, and his trademark style is definitely here. It's just that it's hard not to compare this to his later Angel covers, which get better each and every time. He's the artist to watch, and I would love if we could one day get some interior work from him. Nick Runge, one of the artists who contributed to After the Fall, switches up his style for this issue and gave us a painted cover. While it does look somewhat washed out for some reason, the composition of it all is great, It's a really iconic image, and actually might be the better of the two. One thing, though. Both covers show Angel with a leopard, though the werecat on the inside turns out to be more panther-esque. Not sure what's up with that. Maybe Dez can change into all different kinds of cats, or maybe it was just a miscommunication. That's neither here nor there, though, it happens. I mean, take Angel #5. Both covers featured things that didn't happen (Groo with his hair cut, Spike in a white get-up), but it didn't make the issue or the covers any less awesome. Same case here.

Characters We Know: Angel, Connor, Kate. Gunn, Illyria, Spike, and Lorne also appear briefly.

Rating: 7/10

Spike: After the Fall Hardcover Review

What Is It?: A hardcover that collects the Spike: After the Fall miniseries.

The Story: A lot of beloved stories don't really hold up to a second reading. A lot of stories that didn't go over so well read a lot better after a second reading. Spike: After the Fall definitely changes with repeated reads, but doesn't fall into either of those categories. It was fantastic when I first read it, but the more I read the more the utter greatness of it starts to stand out.

Getting the flaws out of the way first, Art Lyon's coloring doesn't really vibe with Franco Urru's art. It's not really appropriate, I feel, for the tone of either Spike or Angel, but at least his coloring work on this book was an improvement over his work on the middle issues of Angel. The art is best in the third issue, in which Jason Jensen's beautiful coloring leaps off the page, but Urru's art is as good as ever, so it is still able to shine even with less than ideal color work. He is wonderful with character likeness and even better with movement. Take the page in #2, where Spike and Spider have a bit of a stand-off. Perfect pencils, perfect layout. What an example of how effective visual story-telling in comics can be.

As for the story, it's a prequel that truly stands on its own. It tells what happened to Spike and Illyria between First Night and the main arc of After the Fall, so we know where they start and where they end up... but getting there is all the shocking, tragic, bloody fun. Spike's dialogue is the strongest it's ever been, allowing us to get close--but not too close--to our vampire champion. Brian Lynch subtly, gracefully crafts the relationships between the three leads, Spike, Illyria, and Jeremy, setting us up for heartbreak that we knew had to come but could have never predicted how. Brian described the story as having an "indie" or "low budget" feel, and he's right in that the tone is a lot closer to the television series than the Angel title, but this just makes it a more interesting read instead of limiting it. It's a fast paced, highly emotional tale with great character development, cool connections to the Angel title, fantastic dialogue, and Brian's best original villain. Well, at least tied with Kr'ph.

Spike's story reads even better in the context of the entire Angel: After the Fall arc. Both of them play off each other so well, elevating both stories to a new level. I loved Spike: After the Fall when it was released in four parts, and I looked forward to the book every month... but it's nothing compared to how the story reads now. Knowing what is to come for Spike, knowing how Angel: After the Fall is resolved, reading the story is a nearly perfect experience. Things that didn't seem to matter much before--such as Gunn being interested that Illyria was with Non--are now vital in the light of the final few issues of Angel: After the Fall. Jeremy's entire arc, knowing what will become of Illyria... it all works so well with the book. Also, the story is so tight, so many little moments pop up and are payed off, that this is really the only form that can do the book justice. Even the little things--like the way Spike tells time in #1 vs. the way Connor does in #4--contribute to the tight feeling of Spike: After the Fall. I've seen a lot of people say it's the best installment in Brian's Spike trilogy of Asylum, Shadow Puppets, and this, and I always thought Asylum was slightly better. Now, I think they're at least equal.

Brian ended his commentary by saying this: "Spike's grown a lot throughout the TV shows, hasn't he? Just thinking about all the changed Whedon and company put him through on the TV shows, it's pretty mind-boggling. He's a wonderfully rich and complicated character, and hopefully Franco and I did him justice."

I'll end my review by saying this: Spike is among the most well-developed characters in the Buffyverse, going from pitiful poet to feared killer to a monster trying to go against his nature to a true champion. Brian and Franco took that character to the next level. In their Spike trilogy, they forever changed the character, reminding us how deep and complex he can be, something that might have been glossed over in the business of Angel: Season Five (which isn't an issue, I don't think). They've added at least a season's worth of development to the character, taking him in brand new and excitingly dark directions, and I can't wait to see what they bring to him with the on-going Spike series. No one writes our favorite blond vampire better.

The Presentation: Tony Harris's cover from Angel: After the Fall #2 was used, which I found odd at first. But it's really a beautiful book, and once you lay it next to the hardcovers Angel volumes, you understand. The painted look of the cover really vibes well with the other books. Other than the golden tint (which does make it hard to read the embossed title and credits), there isn't much different than the look of the other hardcovers. The images chosen for the chapter headings were very nice.

Special Features: Not much in this volume, which is understandable, considering both Brian and Franco were finishing up work on Angel: After the Fall at this time. There are, however, extensive Franco Urru sketches, including a whole bunch of different perspectives of the Spike/Illyria kiss, as well as quick sketches of particularly important scenes. There's a nice "previously on" section set over an image of Spike sizing up Angel's dragon, as well as some commentary on the first issue. I do miss the in-depth commentary offered in Brian's first two Spike volumes, but when it comes down to it, I would definitely rather Brian and Franco have the time to make the actual comics the best they could be, so I'm good with the limited commentary. There is also a comprehensive cover gallery, featuring all of the Urru and Sharp Brothers covers.

Rating: 10/10 Classic.

Oh so quotable

Re-read the majority of the Spike: After the Fall hardcover today. Will finish up when I get home. Will then review.

Aftermath tomorrow!

Coming soon, coming soon

Hey all,

This week has been crazy, and all sorts of good things are happening, but it's sort of put a delay on the reviews. Well, review, because Angel: Smile Time #2 was delayed on the East Coast. That review will come out Thursday, and the Angel #18: Aftermath review will come out Wednesday. Yup, on time!

Somewhere between then and now, I'll post my Spike: After the Fall HC review. Truth be told I could review it now, as I've seen the extras and have the book (beautiful volume), but I want to re-read the story before I make with the reviewage. Give a better assessment of the book that way.

If this is all lies and the reviews are delayed, don't blame me. I just started writing a one-act play last night, have no coherent outline, and have to have it in by... well, yesterday, but since I was just informed about the one-act festival, the person in charge might be interested in taking my piece on Monday. Or, if I can get it done, by Sunday. AND all my friends are putting on the last day of the POTENTIAL ENERGY festival (I'm done, though), so I'll be there tonight. Ah. It'll get done.

If I keep saying that, it'll be true.

-Pat

PS: That isn't a new cover for Aftermath. I wish it were. It's by Ben Templesmith, and it was for Angel: The Curse a few years back. Great, innit?

Hits

Pretty shocked right now. Put up the hit counter three days ago, already got 240 hits. Yowza.

Admittedly, this is just an excuse to talk about hits next to a picture of Angel hitting demons with his car.

The end.

FIR Part Two: The ElseWhere Chronicles

Non-Buffyverse Related

FIRST ISSUE REVIEWS: PART TWO

What Is It?: The ElseWhere Chronicles- Book One: The Shadow Door
Who Wrote It?: Original story (French) by Nykko, translation by Carol Klio Burrell
Who Pencilled It?: Bannister
Company: Graphic Universe

REVIEW: The series was originally written in French and got a decent amount of acclaim, which you can read on the back of the book. I met the Graphic Universe team at Comic Con and they were some of the most pleasant people I've met there. The series is different because the format of it isn't anything I've seen before. It isn't a series made up of single comics, nor is it a series of graphic novels that add up to a cohesive story, per say. It's sort of a mix. The books are like really skinny trade paperbacks and are roughly the length of two single comics put together. The story continues over the volumes, so don't expect to buy one book and get a full standalone story. Thankfully, each volume is priced at an affordable $6.95.

I'll get to the art first. The character design is great, evoking the feel of some 90s cartoons such as Hey Arnold and Doug. We don't get a good look at many of the monsters, but all the creepy stuff--the scenery more so than the little we see of the creatures--is very well done. No issues with the art sections. The story itself is also very good, keeping the scares to a minimum in order to not terrify their target readers (children), but the risk factor is never taken out of the story. To throw in another Hey Aronold reference, the scares get about as edgy as that show did, but always throw in a little lightness to remind the kids that it's okay.

The weakest part of the book, for me, was the translation. Some of the conversations the characters have don't really seem to make sense, and a lot of the dialogue feels clunky, as if it were directly translated, word-for-word, instead of getting the general meaning and then making it make sense, like most of the best translations do. I haven't read the original French versions so the problem might even be in the actual dialogue, but that was the only major issue I had with the book. The only other thing I'd say is that the balloon placement is haphazard, and confused me. I read comics all the time, so I'm not sure how a child would understand who is supposed to be talking in some scenes when it's really hard for me, in a few cases, to decipher it.

Overall, the book was decent. I hope it'll improve down the line, but it's not a bad read if you're looking for something new and interesting for your kid to read.

VERDICT: Yellow. THE ELSEWHERE CHRONICLES series is pretty good. Give it a try.

Non-Buffyverse Related

DOLLHOUSE 1x01: Ghost

What Is It?: The first episode of Joss Whedon's new show, Dollhouse: "Ghost." Written and directed by Joss Whedon.

Timing: First in the Dollhouse universe. Modern time.

GENERAL REVIEW: Prior to seeing Dollhouse for the first time, I kept hearing two things that had me a bit worried for the show. I know, I know, Joss Whedon is one of the best of all time and I should trust him, but when you hear something said so much, even the biggest Joss fans (consider myself up there) might start to worry. First, I started hearing that Eliza Dusku wasn't a strong enough actress to play the roll of Echo. That Dollhouse was a showcase for an actress that couldn't support a showcase. Then, less alarmingly but still not good, I heard that the first episode isn't that good. In fact, Joss even said that the show doesn't take off until episode six. So, warning myself and my family and friends who were gathered to watch the episode that it might not be as instantly good as we expected, I turned on the television.

And thankfully, both of those statements were one-hundred percent wrong. Eliza Dushku is wonderful in the various roles she plays, and can very much support this show. Also, the episode is instantly good, and probably the strongest Joss Whedon pilot behind "City Of." It's faster paced than the two part premiere of Firefly, "Serenity," and feels more developed and sure of itself than the first episode of Buffy the Vampire Slayer, "Welcome to the Hellmouth."

The plot features a rich man renting an active, Echo, to help facilitate an exchange of money with some gangsters who have kidnapped his daughter. It is very standalone, but the seeds are planted for the longer arcs of the series to grow. It looks wonderful, the sets are great, the cast has palpable chemistry, and so far I've found it to be as funny, emotional, dark, and intelligent as any of Joss's previous works.

This is just television on a different level.

Good/Bad:

Positives

+ What a powerful opening scene. We get a glimpse at Echo before she became an active, back when she was a young, and apparently troubled, woman named Caroline.

+ Shortest. Dress. Ever.

+ Amy Acker is a scene stealer. She has an amazing screen presence, and her small scenes here all prove that she's by far one of the best actresses working today.

+ The guest stars here totally rock.

+ In contrast to the hit or miss Paul Ballard scenes, Joss develops Sierra, a new active, skillfully, making the most of her screen time.

Negatives

- The babbling after Echo encounters (spoilers:) a man who kidnapped and molested the woman her memories for this specific job were taken from, she starts babbling a lot... only the babbling isn't very good. It didn't feel like she was coming apart, like it should have, it sort of just felt off. Similarly, the "You can't fight a ghost" bit was pretty cheesy.

- Biggest complaint about the episode is the first scene with Paul Ballard (played by Tahmoh Penikett) just didn't do anything for me. I guess it serves its purpose in introducing the character and what he's about, but the scene was weak compared to everything else going on in the episode. However, his next scene in the club was informative and hilarious, so it kind of made up for the first one.

Rating: 8/10