Freefall ~ Part Four

Buffy Season Nine issue #4. Takes. The. Cake.

The final part to the Freefall story goes out with a bang! Three to be exact. I don't mean story wise, but the art in the comic. This is the first time this season that the art beats the plot to the finish line. The illustrations were absolutely 'electrifying' especially the throw down between Buff and the Siphon. Get it? The scenes were actually filled with sparks. But all the same, the panel compositions on each page, the colour and detail were all fantastic! Not saying that the plot wasn't great but it was not the star element. It honed in on the battle, the entire issue spanning only a few hours, giving emphasis to the challenge this opponent was, what thrill and excitement it was to the reader. Loose ends were tied up and another thread to the story leads us into the next arc to Buffy's story in Season Nine.

So... Cover One. What can I say, but that I love it! And is my favourite of Morris' cover work for Season Nine to date. I may be heavy on the bias here because I have a love for Escher's works, having used his art as a precedent in the past and ever since be tantalised by the likes of it. So back to it... We are in what appears to resemble Buffy's old basement in her house back in ol' Sunnydale but it must be some other old basement because "Sunny D went from being an outie to an innie" as Faith once put it. The balustrade of the wooden staircase leading down to the musky green room has a big piece snapped out and missing. Sitting between this gap is our Slayer, bewildered by the floating ribbon of paper she reaches out to hold and stares intently at it. The ribbon she holds coils in the air to form two linking sculptural busts, inspired by MC Escher's lithograph, Bond of Union (1956). Instead of two human faces of woman and man, one is human and the other is vampire. The two busts face each other, the human one aghast and eyes wide; the vampire one menacing with fangs bearing. In front of the staircase Severin stands, with a disdainful expression and I could be mistaken, but a sadden look, he tears apart the mobius strip of paper linking the two busts before him. So why the inspiration of Escher I was asking myself when I read the comic today, but not until I typed the previous sentence did it hit me. Vampires, demons possessing the human body, in a way dead but living - the undead. Eternally "bonded," (provided not staked, decapitated or burned) not unlike a mobius strip. But Severin, tears with his hands, he "rips the mystical energy from all he touches," severing the bond between demon and human leaving nothing but a corpse. This cover uses perfect symbolism and has stunning visual execution.         

Cover by Steve Morris

Jeanty's alternative cover doesn't out shine Morris' cover this time, in my opinion. The cover shows what's starting to be a new pairing - Spike and Eldre Koh to the rescue! In total action hero style, Spike and Koh jump into... well, action. Both with the same determination and eagerness in their eyes. Koh leaps forth in a wrestler's stance with both arms held up and fists clenched while Spike moves spryly with his black leather coat bellowing behind him.  

The comic issue starts with a two page segment of "Three months ago" in none other than.. you guessed it and.. I guessed it. Drum roll please. The back alley! The colours of the panels are tinted yellowy to represent the past. On page two there are two beautifully detailed panels. One where we see Severin in a dark alley sporting circular sunnies having just de-vamped a vamp with fumes billowing from his palms and the corpse he holds when a mysterious silhouette of a person appears behind him. The other, a close up shot of his devilish grin behind those circular sunnies. We recognise him to be the mysterious man who appears at the end of Season Eight issue #40 with the same circular sunnies and mischievous grin.   

Of course, I would love to describe my favourite page, however, that would be the multiple pages of fight scene. Again the use of differently angled panels enhance the excitement of the action in this issue.

Overall, the Freefall arc was great and Part Four definitely takes the cake for the imagery. To do a little comparison between the first arc of B stream and the A&F stream, I think I enjoyed Freefall more than Live Through This. That's just my thoughts.

That's all for now!

Live Through This ~ Part Four

I have been without a working modem for more than the last week and I have a cold as of late so do forgive the lateness of this post.

Angel & Faith issue #4

This issue was satisfying to read and does not disappoint. I can't write anymore without being way to vague or spoiling it ..or it's the headache I have so give me a break!

Cover One. Blue and gold is the colour theme! Beady blue eyes of an array of peacock feathers hang from above. The same beady blue eyes decorate a gold bangle around an extremely pale arm. Human skeletons fill the empty spaces in the background, foreground and in between. It's a mix of supremacy, posh royalty and human death. The evolution of the so called "higher beings". The same beady blue eyes appear again in the illustration, as two pairs belonging to two sombre looking figures. The man holding up a skeleton by the rib cage and woman rubbing her chin with the backs of her fingers, both unamused  looking down upon none other than... us, the reader and members of the regular human race. Nash and Pearl rendered life-like by Morris in an impressive golden glow complexion in the same colour as their hair, standing still as statues and appearing gaunt as the dead, look ever so creep-ey.

Cover Two. Like in a dream of an endless grave yard, tomb stones appear before us and into the rising distance ..or falling from the purple night? not sure. It's in a style similar to a Simpsons dream, ones you may have seen of Bart or Homer. Front and center of the million tomb stones is our beloved Watchers', engraved "RUPERT GILES - IN LOVING MEMORY". Like in a dream, Angel becomes part of the forming grave yard, his black trench coat is the pitch black night for the foreground tombs. Giles' tomb situated at his chest. Angel, all dark and brooding, red blood sprayed across his face, holds out before him, cupped in both palms a single glass flask of lime green Mohra blood. This is another neat composition by Isaacs.

Unfortunately, there was no most memorable page in this issue. But, there were still good use of colour and action scenes. The story had mild shocks/horror, and a nice mysterious glint at the end that leaves your imagination curious for more.    

Hey this was a short post. But that's good cos I need my rest. I hope you enjoyed Part Four, and in a less than a week the next last part of Freefall comes out.

Freefall ~ Part Three

It just keeps getting better!

Buffy Season 9: Freefall ~ Part Three

If you ever loved the tv show this is the comic issue where the writers brought it back in full form. Terrific sequencing of events, use of colour and perspectives, changing backdrops to keep the story moving in a well written plot. If there is anything one looks for when you pick up something to read or sit through a show, is that the story gets somewhere by the end, hopefully in a well fashioned pace. And this issue delivers. Opening from the end of one cliffhanger and closes with an even twistier one. In between we get a depth of mystery, surprise, nostalgia, relationship complexities, and will I spoil if I say deception? Too late! I already said it.

The covers themselves are a deception, if you ask me. Two strikingly different covers in colour and theme, both of which I found neither so exciting, yet how different the comic inside could be I found.

Official cover by Morris, shows a backdrop of golden green hills beneath a pale blue sky all in a thick paste of colour. The landscape sort of reminds me of those by the painter Paul Cezanne. In bright red, the end tower of the Golden Gate Bridge is just visible over the hillside. Darker greens and browns of foliage highlight the soft peaks creating waves over the landscape, imitating the movement of the light clouds over head. One could say a charming countryside, except the pasty primary colours rub me the wrong way. In the foreground, we have all the characters looking sad and mopey. Did someone die? You can't possibly be mourning Giles' death three issues in, in a new season! A little distance away, Xander has his arms crossed and his back to us, but, we see his profile (the side without the eye patch), he's angry and looking away from the saddened Dawn before him. Dawn and her sleeky hair down, places her right hand over her left shoulder and faces to the ground with her eyes closed in deep sorrow. While Willow, sporting her new short hairdo, stares disdainfully at our leading gal who's standing front and center before us. Buffy, (or should I say Sarah Michelle Gellar, looking so life-like I have to give props to Morris and his talent because I haven't done so, so far) fills the page like the cover of a magazine but does not meet the eyes of the viewer. With her neatly quaffed hair tied back, and in a Sunday pink outfit, she looks away to the ground, shameful or sad. I will make the same comment that I did for Live Through This ~ Part Three, this cover has nothing to do with what's inside, and I too again, am befuddled by which its inspiration. Ok, fine! I lost my foresight, it's not completely unrelated to the sitch' but, like seriously, of all concepts Morris chooses the most subtle one, the wall flower of the lot. With all the exciting elements in the plot so far he used the relationship complex between Buffy and her friends/family and between Dawn and Xander. You can't blame me for being perplexed by his choice.

Cover number 2, also known as the alternative cover, is by... surprisingly I did not pick it ...by Jeanty. Must of been the faded colour look of it and dated comic style. This cover is a lot more exciting and does play strong connections with the plot, though probably not in that hunky fashion of heroics. It's kind of cheesy at first sight, and still is as I look at it now, which is why I passed it over without much thought for the goodies inside. But I'm back, to describe it to ya'll. We're in a midst of a glowing red dust storm (really, it's just back alley dust, if you read to the end of the last issue). In fact I'm gonna lift the shroud completely and tell you it was the epic battle at the end of Part Two that we only saw small panels of. Buffy battles side by side with the mysterious guy she met or is about to meet from the last issue. The mysterious guy who we come to know as Severin stands high up on a mound of rumble in a very gladiator-like pose with one hand balled into a fist coming into a swing at the vamp who he has clasped by the face with his other hand, holding the vamp up in mid air using one arm. A fiery glow emits from the face of the vamp as he uses the mysterious powers from his hands.The glow radiates, glistening his muscular chest, visible because his shirt has disintegrated or in the fit of battle been torn to rags. In fact, all those that are in the scene are wearing rags! A mob of vamps advance up the mound of rumble to no avail as Buffy courageously knocks them back. We see one of the vamps have the labels "GEORGES" and "VINES" sown onto the back of his torn jacket.

Alternative Cover

Part Three opens right where Part Two left us, in the back alley. I have a feeling I'm gonna say those two words a lot throughout this season. We are introduced to an added aesthetic to Severin's power in the opening page with electricity charges rippling off his hands for a more dramatic effect not seen in Part Two. The first two pages of this issue use a charming array of blues with an added touch of a cosmic starry night. Nice! Page two is particularly well composition-ed displaying Buffy's quick escape route from the scene of dead bodies as the coppas arrive. It uses four well arranged panels finishing off with an out-of panel, close up of a serenely detailed drawing of Buffy as she asks for a place to crash; and is, I got to say the best page in this issue from colour scheme, composition and illustration. The panel where Buffy lifts a confused Severin using one arm cuffing the back of his jacket while scaling up the fire escape is a sight you would have loved to see on television but looks brilliant on paper against the backdrop of dark buildings, chimney smoke and that lovely starlit sky. As she makes it to the roof she comically flails him over the edge startling pigeons into flight. Heh!  

Skip a head an we see an interesting four piece panel sequence of our remaining Scooby gang being "bzzz"-ed into action. The panels aren't drawn very neatly, except for the one where Andrew makes a guest appearance and much welcomed comedic relief (which I won't spoil, you'll have to see for yourself). The sequence gives us a peek into the unknown work lives of Willow and Andrew; and surprisingly enough, how Apple has made it's way to the Buffyverse. We see glimpses of Spike and Dawn holding unmistakably iPhones and Willow working on a MacBook, the bitten apple logo distinctly visible on their respective devices.

Without giving more away, spoiler I ain't, and most definitely not for the ending, for all the effort and elegance put into the syncing of subplots using many cinematic devices, I say enjoy Part Three! I will end with my doubts as to Buffy's ability to kick a warehouse roller door, twice her height and ten times wide, with the possibility to cause it to explode into shreds is beyond my comprehension.  

Only one more part to the Freefall arc! Be back end of the month for Live Through This ~ Part Four.

Disaster Averted

...more like collided.

"And if you don’t mind my saying, your dad is a complete idiot for not calling. He should never let a day go by without calling you because... when I let a day go by without talking to you... Um... that… day’s… just... noo good." ~ Barney to Robin

I just had to mention, this was a beautiful scene with perfect use of music, Hey by the Pixies.

Live Through This ~ Part Three

Angel & Faith issue #3: Live Through This ~ Part Three.

My first impression of this issue (after I read it, of course) was, "eh". My "eh" is mainly because of the art which was fairly much like the last issue. Rough. The only thing I liked most about it was really just the plot, which is still chucking along slowly (but maybe a little too slow).

I was contemplating if I should even mention the covers this time. This is why. First of all I don't really get how the official one by Morris even relates to Part Three. Nothing on the cover aside from the two main characters signifies any of the events in this issue. Is it meant to be some deep motif thing? 'Cos seriously, I don't get it. My first impression of the cover before I flipped through the comic was: Is that Angelus? Is he gonna be in this issue? Morris has drawn Angel with a fiery aura around him. Not a typical glow of sorts but a shell-like exterior of his vampire self. It's an interesting illustration, I have to admit. The demon part of him, a mere facade and only skin deep, but split it open, and inside you find that annoying, brooding guy. Ok, fine. The real Angel we know, a hero fighting for redemption. As impressive the concept is, what has it to do with the story inside?? I have no clue. I use to believe that art need nothing but to be aesthetically pleasing to the eye. But nay, without meaning there is no point. Illustrations should tell a story (that was the whole point of its creation) and the story should be the inspiration from which it stem. So this cover really did nothing for me. The infant angel swooping down from a rain of shooting stars and Faith sitting quietly in the background... nothing.

Isaacs, again illustrates the alternative cover. And again I say the cover was well done and neat, in contrast to the art inside the book. Unlike Morris' cover, Isaacs gives us meaning. The cover relates very much to the plot in the issue. I have to say I love the red. In fact I loved the use of red in this issue. I noticed it was used on a fair few panels for backgrounds. It did well to highlight mood and for contrast. In this cover the bright red contrasts well with the bluey-grey of the outfits of our duo heroes. The Mohra demon's face is glowing red in the background, large and towering, signifying his important in this issue (and has been the subject of the last three issues if you've been following). This is the issue our heroes find that guy. In the forefront, Angel and Faith wield their weapons, broad sword and barbarian axe, respectively, and they're on the offense it seems. Come on, let's see the fight!

..and we do. Not as many as in the last issue and not as epic as the opening fight in the first issue but action, yes. Aside from that I see another trend. It seems like each issue is going to contain a couple of pages at least of the pair hopping buildings in the night. I think they should get a car. Didn't Giles own a car back home? I know I said I enjoyed these scenes before, but, it's something about the different blues they used this time, just wasn't a good choice.  

Skip ahead to the most memorable page of the issue, it was a tie. This first one because it is unlike any seen before in the comic so far, the intro for the new character Alasdair Coames. A frail, old, Englishman and friend of the late Giles, and a now turned ex-archmage due to the magic-less world. A full page has been arrange for his intro. A third of it taken up by an inserted panel of a close up of Alasdair greeting our heroes in an open door frame, holding a steaming cup of tea and another hand grasping the arm of his half moon spectacles attached to chains around his neck. The interesting part is the other two thirds of the page under the inserted panel. We look up, as if we are sitting on the floor, in a wooden floor boarded living/study room. Ahead we see Angel leaning forward to scratch a black and white cat perched on the arm of a purple sofa. High up on the back of the same sofa is perched a two headed cat with feathered wings and a devils' tail. It paws towards Angel. Jealous of the regular, earth dimension cat? Faith, arms folded, learns on a wall far back in the room. One brow raised as she stares suspicious up at flying pixies over her head. While Alasdair, still holding his steaming tea puts his left hand forward to calm a small orange dragon, wings in full span as it floats above a second ornamental sofa, decorated in an orange floral pattern. But in the speech bubble he actual says "Off the furniture, you cheeky thing." Around the room we see other small magical creatures. One hiding in an antique-like pot, it's head rearing up from beneath the lid but its face is hidden in the dark. All we see are two small glowing red eyes in the darkness, a long snake-like grey tail and small sharp claws hangout over the brim of the pot. Two pairs of green cat eyes glow from the darkness under the orange sofa, while two different kinds of reptiles sit on the sofa, above. Sitting like spectators are another two pixies, high up on a latter propped against the open wall bookshelf. The opposite wall hangs a orange demon/tribal like mask and a giant spiderweb (plus the spider) hangs from the ceiling; while little marbles litter the floor before us. It's an intricately drawn room where orange is the colour. In a magic-less world this room thrives of what remains.

The other contending page was the scene where Nash and Pearl crashed in on the demon tussle. They sure know how to make an entrance! They literally exploded through the window, with their fluro-green power beams. The page is split into two vertical panels. In one, we look up from behind Angel at the two floating half demons coming through the shattered window. The indigo to blue tones of the outside night sky brilliantly contrast with the inside green glow and highlighted by the sole red on Nash's outfit. Nash is floating upright and holds up his left hand in a symbol of might with green smoke still bellowing from it. While Pearl floats upside down, in a mockery to see more closely the feeble ones below them, has green smoke lifting from her eyes. Both stare menacingly down at Angel and Faith. The two are magnificent in all their evil glory. The second panel simultaneously timed, reveals Angels' concerned response to the party bashers, as we look from Nash and Pearl's perspective down at Angel standing among the shattered window glass. This page uses colour far more superbly than any other page in the comic thus far. The use of the split panel with Angel and more neutral tones pulls back the saturation and balances the whole page well. In truth I think I like this page more than Alasdair's living room. I'm a sucker for good use of colour and invigorating compositions.  

So that's it. Be back for Freefall ~ Part Three.

Freefall ~ Part Two

Now we're getting somewhere!

Buffy Season 9: Freefall ~ Part Two pulls out all the stops. It's got action, mystery, drama, subtle humour and a cliffhanger. That's two for two on cliffhangers really, but I got to admit I didn't quite get the end of Part One until the open of this issue. The story is tying together quite neatly with the two issues so far. There's hope for this season. And this issue delivered the plot splendidly. Very smooth execution I'll add. No run ins with over cluttered panels, too.

Anddd covers! We ride! I like the consistency. The second issues for the B stream and the A&F stream both have Steve Morris delivering the official covers and the streams' respective pencilers doing the alternative covers. Morris gives us Buffy in action, a tussle with an icky demon in rags. Strange, this demon looks different inside the comic. Here, he's more of a brown-grey. In the comic, he's a pale, murky green and wears black leather; and looks way more cool but not as "scary"... guess that was the angle they were going for, for the external cover that is. Tad confusing if you ask me. Where's the consistency here? I digress! The illustration of the fight is quite impressive. A black wash background signifies the night which also aids in the illusion of the quick motion through the raw vertical streaks, and is further emphasized by Buffy's waving tendrils and locks. The demon is tall and gangly with giant claws, scales, a shark like jaw with multiple rows of teeth, stringy hair and drools as it lunges. Or are they tumbling in mid collision? Can't say for sure. Buffy's legs are in a tangle and she's upside down. She doesn't have the higher ground but she's in control and has no fear. She grips her wooden stake in one hand and balls her fist in the other; there is nothing but confidence in her eyes. For a girl with such skinny arms she sure can hold up a fight! It is unfortunate that Morris has given her elongated arms and the lack of muscles doesn't help. Nevertheless, an impressive composition and nice colour scheme. A mix of browns and shades of black and grey highlighted by the softer rendering of tones for Buffy's peachy skin and sleeky hair.

The alternative cover is a treat. Georges Jeanty gives us an inconspicuously sweet, cherry lipped, dolled up Buffy with glow-y, gold locks and wide, green eyes. Spike did nickname her Goldilocks once. So there you have it, Goldilocks with  her trusty stake held secretly behind her back. She's cornered, her back is to us, and there is a look of shock in her eye as she turns, half face towards us away from the approaching, torch flashing, gun-badge wielding detective duo. It's a dark back alley of the streets of San Fransisco; building windows lit with lights; laundry hung from lines linking one building to the next. A big, white sheet pegged up on the laundry line creatively incorporates the title in melting tones from indigo to red contrasting well with the dark blue sky and assorted glows of yellow. The cover is beautifully drawn, parodying the cliche back alley arrest with a delightful Buffy spin on it.

 The alternative cover by Georges Jeanty

Part Two opens like any detective drama does, a crime scene but quickly gets back to where we'd last left our heroes in some other dark alley across town. If there is anything to marvel at it is the use of colour. Particularly the use of cool blue-greens or powdery purples to set the tone of the night and the excellent use of black for contrast, shadow and highlight. Jeanty's signature swirls of disturbed back alley dust also adds great aesthetic touch. This issue demonstrates brilliant use of the panels in sequencing through overlapping action scenes and diagonally cut panels to set extreme situations; to describe further in detail would be a pain and suck the impact out of experiencing it first hand. There is also the use of interesting vantage points and angles creating a terrific feel and flow to the story like crafted by a masterful director.

I've talked in general about the comic in the issue and mentioned no specific page that was exceptional. But I guess that's how this issue was designed. It worked as a whole and it was great like that. If I had to mention a page it would have to be right before Buffy gets caught by the coppa in the alley. She's in a wrestle with a vamp and it's a full shot of the tumble rolling from one panel to the next and in the last, a successful poof! The many close up facial expressions were also great to see.

Live Through This ~ Part One

I decided to do a proper critique of Live Through This ~ Part One because my post for Angel and Faith #1 was not really a critique, contrary to what the title stipulated. And because I did a review of Part Two and I felt I ought to be thorough and complete. I did hint and mentioned in my post for Live Through This ~ Part Two some of my thoughts of issue one for comparisons purpose, where I will further explain here.

Just like in the B stream issue one we get three covers for A&F's first issue. All the covers are doom and gloom set by the murky colours. First up, the official cover by Steve Morris. It's a gloomy, crescent moon night of inky, grey wash in a cemetery near London. We see the reconstruction of Big Ben, the silhouette of the London Eye and other structures towering over the horizon in the foggy distance highlighted in twilight glow. The cemetery is located by neighboring houses not too far in the distance. Our heroes pose for the camera. It's not a photo shoot but they are posing alright. Faith sitting gangster-like, high on a grave stone/tomb of our recently deceased Watcher. Right hand clasping a sharp stake with the middle finger of her left hand pressing down on its pointy end. Her heavy-boot clad foot steps forcefully down on a grave stone to crush a nasty looking mini demon as she placidly stares at the viewer. Angel with a slight more determination in his eyes stares down the viewer. Broad sword over his right shoulder and left hand searing with black smoke as he clasps tight the angel sculpted stone cross before him. He is serious about his forth coming atonement. The cover as a whole is alright but not brilliant. It's composition is cluttered which is why I only really like the inky skyline which has just enough detail to intrigue.

The alternative cover is by Jo Chen. This time Faith is in the forefront and Angel in the background yet they are back to back and each with their faces turned to look at the viewer. Both look strikingly like their portrayed actors (though years younger, especially for Angel. Hehe). Angel in his favourite black coat and Faith in a strapless red top/dress and tattoo on her right arm. Angel is expressionless but Faith has a hint of concern in her eyes. The background skyline is again the most intriguing in the cover with its vertical vantage point towering over heads we see an undamaged Big Ben and a glowing full moon veiled by grey clouds. The buildings are darker than the skies to anchor in the front and center for our heroes. There seems to be multiple sources of light in this picture probably from street lamps not in view but they are varying shades which is strange.

Last of the covers is the bonus 25th Anniversary cover for Dark Horse by Georges Jeanty. This cover is the most artistic of the three. The tones of blues and greens work well to create the drenching wet cold. The number '25' is drawn artistically as it slithers and begins to drip down the street flood drains by the current of water at its wake. The heavy rain is powdery as it hits the surface of the slowing flooding streets of London. The effect is done brilliantly. The drawing has been angled so that the viewer is staring upwards from the sewer drains at the two figures on the street. The dark structure of the in-reconstruction Big Ben with it's clock faces illuminated is seemingly a big mass of blackness on first sight with light refractions casting upon it from the glowing lamp post in front. But with a second glance I noticed the refractions were actually three giant demon faces with glowing fiery eyes and mouths. We can make out sharp teeth and possibly horns. Hidden are the demons in the shadow of the structure or shrouding the structure in darkness by the demons, this is a mystery. The illusion is incorporated well. Our heroes stand at each others sides. With the tails of his black coat bellowing Angel stares down at the number 25 sliding away. While Faith, in a red jacket and grey pants, grimaces out into the distance. We get a sense of foreboding dangers and threats but a beacon of hope as the sky clears over the heads of our heroes. Jeanty conveys the theme clearly in this cover as he also did for the 25th Anniversary cover for the Freefall ~ Part One where he placed Buffy in the midst of a cemetery to demonstrate her returning to her lonesome patrolling duties as the one and only Slayer. My one and only criticism of this cover is the bulky hairdo for Faith, resembling nothing like her but all else the cover is fantastic.

So the story begins in the past with a memory of Giles' recent past. I've already mentioned before that the drawings in this issue were done with care and effort. A dramatic open to the present with a full page and our heroes tangled in a 'knot' in the literal sense of the word. The scene is intense, with great colour and superb detailing. The vantage point is dramatic and exciting. They're in a living room, and Angel and Faith appear to be flying but wait, no, they are just in mid air held seemingly a flight in tangles of lengths and lengths of scaly red tentacles (with a nice contrast of purple for shadow) extending in the masses from a little girls' mouth. Gargh! She'd be choking if she weren't possessed by a demon! The little girl is, however, floating. Despite the odds Angel and Faith have things under control (or at least Faith believes Angel does); they tear the tentacles apart. Angel with his bear hands and Faith slicing them with a barbarian axe. Gooey-green-goo spray from the points of dismemberment. This full single page, the opening scene for our heroes came very close to being the most memorable page of the issue.

Skip ahead and they kill the 'thing' and save the girl. But in the process there is a really well drawn page where Angel is not only sprayed with the green goo (which for aesthetic effect appears to evaporate off him) but along with the splash of Giles' lost memory depicted around Angel in discoloured blues for effect.
 
I have to say I very much enjoy the scenes where Angel and Faith are on the streets of London or leaping from building to building in the scenes from Part Two. The cool dark blues and greys work well along with the sequencing and details of and within each panel. The quietness of the streets at night allow the dialog to flow better and, we, the reader get to know the characters a lot better. Although, I know that's what the thought bubbles are for but I prefer getting to know the characters from the speech bubbles more because actions and actual interactions are stronger and more true to personality. Beliefs and thoughts can sometimes be limited by the courage to materialise them.

Our first depiction of the villains are from a memory of the reign of Twilight. But the intro for Nash and Pearl I was referring to in my last post were a few pages later. The scene opens with Whistler talking to someone off view in a pub. It's all mysterious and intriguing as they keep us in suspense with the content of the conversation. Our first hint is Whistler handing a glass of beer to a blood drenched, pale, white hand. The contrast of the bright red to the white is striking. There's so much blood it's actually dripping from the hand. The next full page is the stunner. We look from behind the counter to see a pub and all its customers slaughter in cold blood and it appears like the killers enjoyed it. A red headed waitress' corpse hangs in the middle of the room from an ornamental silver light shade from the ceiling, her back towards us. A man was used as an extension to a dart board as we see his body stood up against the dart board on the wall with darts lodged all over is face and his chest. In the shadows, along the wall with the coat hooks human bodies, not coats, have been hung up with the hooks impaling through the throat of one and the mouth of another. Another corpse is slung over a pub table with shards of glass sticking out from the back and head. Other bodies lay around the room with heads scorched. Blood is splashed across the walls. The culprits stand clear in the middle of the pub. Caught "red handed," literally, if police entered the pub at this moment (not that they would live to tell anyone). Both have silvery, white hair and pale, white skin; pixie, elf ears; arched foreheads; blue eyes; and wolf-like noses. Bright, red blood drench their hands. Both wear classic whites and greys in a posh traditional style of clothing. Nash holds his beer and rubs his chin with his right hand, smearing the blood to his face as he ponders excitedly about the next stage in the plan. Pearl, with blood smeared over her dress stares intently at Whistler with a half smile. The rendering in this page is terrific. The silver and brilliant whites contrast extremely well with the bright reds. The villains bring fright to a new level. When I first saw this page, I likened it to when Spike and Drusilla first walked onto the scene together in 'School Hard'. They brought with them an air of spontaneous wickedness that was delicious to the viewer. Nash and Pearl have done the same in their opening scene and will hopefully bring much entertainment to this season.

So that's it. This post is way too long. But I've had the chance to describe all the scenes worth mentioning. The last one being the most electrifying. And I look forward to Freefall ~ Part Two.