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.        

Live Through This ~ Part Two

I do realise that my blog has taken a strange turn to comic reviewing but until I get time to get back to working my own stuff the least I can do is appreciate the fine examples of comic art.

...

Angel and Faith issue #2

Overall impression... it's a slow start. Where are the other people?! I do hope however that when the other characters roll in that their intros are damn good!

I'm gonna kick off with the covers. The benefit of Season 9 under one house is that the cover artist is the same for both A&F stream and the B stream (forgive the shorthand) or at least thus far. We have official covers by Steve Morris. I didn't talk about the cover Live Through This ~ Part One last time but, frankly, a part from the murky atmosphere I wasn't so intrigued. Part Two, however is a lot better. The composition, rendering and colour scheme work nicely. We have Angel, Demon and Faith one after the other on top of each other in a tussle. Faith is upside down in mid action of a back flip over the horned demon, one hand pushing down on its head and the other grasping a swinging... (I've drawn a medieval blank on weaponry, sorry, so for now it's a spiky-ball-on-chain). Her wild, brunette  locks are even flapping to one side. She looks concerned. While Angel is keeping his cool in his black trench coat, having an intense stare down with the boney faced demon right at his back. The demon has the hands, body and outfit of a Dementor and the skeletal head of a buffalo, save for pinky flesh coloured skin and creepy, yellow eyeballs. The faces of the characters are submerged in detailed clarity contrasted with the out of focused action about.     

The alternative cover, this time by Rebekah Isaacs has our heroes in the middle of another sticky situation. Angel and Faith back to back wielding all their weaponry of preferred choice as suggest from there character histories. Angel and his beloved broad sword. Faith with her trusty stake for her slayer identity in one hand and a crossbow in the other. It's a full moon on the paved streets of London, not a civilian in sight, of course, and our saviors are surrounded. The illustration is clean and well done for this cover which is not what I can say for Isaacs' illustrations that follow in the comic. The art in the comic is less neat than the cover and a lot more messy than the first issue. It's like the first issue is the "maker or breaker" so it must be perfect but after that dropping the ball is permitted. But surely, not to this standard. The quality of the drawing in this issue is somewhat, in my view, deteriorated from the first issue. Frankly a little more care would have been appreciated, we're not just here for the story, it's a package deal, the story is told through the quality of the illustrations.

Not saying there wasn't some good action scenes. The full page dramatic entrance of the heroes literally crashing a demon den through the glass ceiling was quite a sight; and would have been the most memorable page of the issue if it had been rendered carefully with a touch of realism like the full page introducing Nash and Pearl in the slaughtered bar of the last issue, which was the most memorable page of  Part One. Moreover to disappointment was how poorly drawn the villains Nash and Pearl were done in comparison to their opening appearance.

The art was not a charmer in this issue but the story has still got the reader interested to find out how things pan out for Giles' resurrection. From this issue the reader only gains a small bit to nibble on in Angel's grand scheme but nothing further. I reiterate, it's a slow start... hope it picks up in the next one.

Talk about weird

Ted: Oh, no. No, we’re, we’re not together. I mean we, we, dated for like a year but now we're just friends. It’s not weird.

Victoria: No. No, why would that be weird? I mean if you hung out every day that would be…

Ted: We… do.

Victoria: Still… not be weird. You know I don’t know anybody that hangs out with their ex every day.

Ted: Well, Barney does.

Victoria: Really?! Whose Barney’s ex-girlfriend?

Ted: Robin.

Victoria: Your Robin?

Ted: Mine and Barney’s. Yeah.

Victoria: You don’t… all-three-hang-out-together?

Ted: All the time!

Victoria: Andd we have weird.

The thing that's so charming about himym is that it's so carefully crafted to take us along on the story but brings us back around to the core meaning at the end, which was so casually disguised at the beginning of the episode combined with motifs scattered along the story path like bread crumbs. I've missed this show.  

Freefall ~ Part One

Unlike for Angel and Faith this is the review you are looking for. Enjoy! 

You know how sometimes when you first see, taste or experience something and your initial reaction is... not much of a reaction at all? You're speechless, not because you are in awe, but that you literally have no opinion. To you the question was a curve ball and came shooting at you out of nowhere. You'd never thought of it like that before. You are simply border lining between "I like-y" and "I no like-y" Yet you can't get your footing right, there is just that weird feeling 'cause you're out of place and caught off guard by the issue at hand.

Then, after some time, further encounter, it... grows on you. The clouds part and it all makes sense, and you wonder: How did I not see it before? You smile at the thought.

I assume the above situation can apply to many things in life, judging by how vague of a concept I seem to have described it all. Heh.

Cover art by Steve Morris

I'm staring at the cover of Buffy Season 9 issue one ~ Freefall ~ Part One illustrated by Steve Morris and, though I never disliked the cover it never really sat right with me the first time I saw it. It may have been the light turquoise wash of it all and the seagulls giving me a feeling of sea sickness. But after further viewing I took in more of the details. Our heroine is falling at rapid pace, hair and gown fluttering. Her world, the streets of San Fransisco seem to have been sitting far above in the heavens until now, as it crumbles away falling with her. Given the situation she seems calm with only a slight sign of concern of what is to come in her eyes. Splatter I suggest. The slight streaky vertical smudges and in-out focus of clarity plays with our eyes in an artistic way. Drinking it all in, I can sense the roller coaster that is to come shaking up the life of our beloved heroine and her friends. The jostled vertical display of the title Freefall is also a very nice touch.

Judging by the style of the alternative cover it could be by none other than Jo Chen. The energy, action and extreme vantage point was striking at first sight. Buffy crouched on top of the Golden Gate Bridge, right hand firmly grasping her stake, ready to strike. It's night with the city lights glowing below, illuminating her and half her face from the jaw up. The swirly texture of the brush marks add to the gust of winds blowing the locks of her hair. She stares out, her sights clearly locked on a target we are yet to know. She looks poised, ready to leap forth.

Cover art by Jo Chen

Our bonus cover is in celebration of Dark Horse's 25th Anniversary. Buffy sitting sweet and innocent in a red cardigan with pouting red lips and eyes wide staring straight up at us. Autumn leaves fall diagonally over the stone formation she sits on, among possibly tombs and gravestones in a graveyard on this windy day. It's Buffy in Georges Jeanty's pen work cute-looking and all.          

The intro page with all the formalities and blurb to the issue also has a nice bluey-green water colour of San Fransisco with a lonesome sketch of Buffy amidst it all.

We open with four rectangular panels all slightly bigger than the one above it as we see Buffy open her tired, red eyes waking from a night of party hard drinking. Hangover indeed and jeez is the room messy!

Cover art by Georges Jeanty

The issue reads much like watching a television show with flash backs here and there as we try to fill in the blanks from her party hard night. The plans for season nine was to get back to the domestic life of Buffy as she balances it with life as a slayer so I believe the writers have achieved this goal well. However, the flash backs here and there made it a tad annoying. I found it disrupting to the flow of the story which makes me think back to how smooth the story plots were told in season eight. As far fetched and remote the grandeur of the stories in season eight were, the stories were presented and laid out well to the reader. Here I found myself not liking what I was reading. An information overload. The issue did best when it honed in on specific moments with full shot, then face, then eyes. The emotions of our heroine were felt exactly, so we could dig deep and understand. The intricacies in each panel were brilliant but sometimes there was just too many panels on the one page. Qualities in Jeanty's drawing also came through more in the few pages where they weren't over run with action and speech bubbles. 

It took me time flicking through the pages again a second go to start appreciating the issue for what it is. But I must say season nine did not open as splendidly as season eight.

P.s The issue solves the mystery of where Magical Mystical Tour featuring the Beetles fits in the timeline which I was puzzling about earlier.

Angel and Faith #1

I have no intention to give you a review, recap or blah of Angel and Faith #1. If you want one it's not here. Okay, maybe that's not entirely true if you include review to mean discussion of stuff other than the plot. 

The first issue of Angel and Faith ~ Live Through This ~ Part One came out recently and it's made me start to think about the potential futures of these beloved characters, yes, go all critical on the issue's plot, yes, identify the marketing ploys, yes... but most importantly started my train of thought on the art of which comic illustrators that have moved me the most.

Of course, I have already praised the truly miracle artistic works of Jo Chen. But I have not yet really thought about the art of each issue, the many varying styles showing the strengths and weaknesses across the many series, miniseries from IDW to Dark Horse publications.

Like many followers, I have come to recognise Buffy in the pen work of Georges Jeanty from the very first image of our heroine in action launching out of an airborne helicopter with her fellow slayer crew. Our first sight of Buffy since the ending of 'Chosen', in paper and ink we get the "money shot" in full double page. A sight like none other. Willow and Faith by Jeanty's hand notably carry the true essence of the characters well too, particularly captured in each ones opening appearances.

In Angel and Faith, I find Rebekah Isaacs' depiction of Faith true to the likeness of Faith. However, I don't see it in Angel. Having read all the the IDW publications of Angel and of Spike I have not come across any artist that has been successful in depicting either characters. I do, however, prefer Isaacs' stylist interpretation of Giles over Jeanty's.

Another of my liked characters is Illyria; and I do particularly agree to a comment I once read that she was the only character the comic medium switch over was made for. Although, I have found that of all the depictions the most convincing have been by Elena Casagrande in Illyria: Haunted and Brian Denham for one of the arcs in season six of Angel.

Lastly, is the demons! The only absolutely remarkable illustrations is David Messina's drawings of the Old Ones and Illyria's former pet in Angel: Only Human. Although, there was a pretty good illustration of Illyria in her true form in Illyria: Haunted. Messina's depictions of lessor demons and human forms are unfortunately weaker.
 
There are so many more comic art that I could discuss about under the big umbrella of Btvs comics but it'd probably go on forever.

I shall round up on the last note of demons and say Pearl and Nash look creepy! in a good way.