Back to Sunnydale

Don’t look now, but the era of the $4 comic has been ushered. Yes, comic book prices have been climbing for years, it’s a matter of inflation and simple economics. This has forced me to cut back on some of the purchases I make (generally I can spend anywhere from $30-$35 a month in comics, though I try not to go over that, which believe me, is relatively subdued.)

I know people who spend that much on a weekly basis! Yet, the norm has been about $3 a book with DC undercutting Marvel with some $2.50 books and with smaller publishers like IDW asking for as much as $5 on some books, due to the fact they have a lower print run and have to cover their costs.

52 from DC has had a $2.50 cover price, but of course, that’s not a monthly title so you can’t really count it.

Last month, DC charged $3.99 starting with JLA #6, which was 10 pages longer than the regular 22 or 32 page comic book. Upcoming books by Marvel are close to $4 depending on whether they are a big story, an annual, or a larger than usual book (which these days may mean anywhere from 32 to 48 pages)

I don’t mind paying $4 for a book, as long as I get more story pages and not just artist sketches or other extras. However, I fear that we are nearing the point where $3 books will be climbing to $3.99 as the norm. I base this on some of the books being released this week (May 2):

Sensational Spiderman Annual #1 48 pages $3.99

World War Hulk Prologue World Breaker 48 pages $3.99

Of course, I may be way off since these are lager sized comics, as opposed to the regular 32 page offering.

I have been too busy to watch NBC's much hyped return of "Heroes" though I did tape the latest episode on Monday night. Last night the Alphabet delivered another great episode of Boston Legal. In the wake of the Don Imus controversy, it's refreshing to see David Kelly, who writes the show, doesn't shy away from having Denny Crane, expertly portrayed by Bill Shatner, continue to say what's on his mind, polictical correctness be damned.

In last night's episode for example, Denny interviews a possible new hire for the firm of Crane Pool & Schmidt and to the horror of the other partners, says the man would be a good fit because he "doesn't sound black." He then tries to redeem his faux pas by saying similar language has been used by President Bush and other politicos.

This of course leads to a discussion about what Denny can say and what he can't. Of course, everyone is shocked at his apparently racist remark, but to Denny, his statement isn't so much racist but based on his life experience. It's an interesting dialogue on white America's perceptions about racial speech. He says, "you mean to tell me if a man kidnaps you and makes a ransom call, when the police call and ask me to describe what he sounded like to me, I'm not allowed to say he sounded black?" He makes a good point.

Denny Crane isn't a bigot, he's a staunch Conservative Republican who is against gun control and liberals, and though his character may be a cartoon to some and he wouldn't necessarily be someone I would pal around with in real life, he makes for an excellent case study and for a compelling television character. His friendship with Allan Shore, played by a dashing and erudite James Spader is one of the most interesting aspects of the show. It makes for some truly memorable television and it often does a superb job of lampooning some of the more absurd aspects of contemporary society and current events on a weekly format.

Watch more of Denny courtesy of Youtube.com Denny Crane!

Ever wonder what the circumstances were which got Faith’s first watcher killed? What were the events which led to Faith running from Kakistos the vampire? What was Faith’s upbringing like in the rough streets of Boston prior to her arrival in Sunnydale and her dealings with Buffy and her cohorts?

These questions and more are answered in Robert Joseph Levy’s inventive and highly engrossing book “Go ask Malice” which has Faith, the rogue slayer first seen in Buffy’s third season as its protagonist. She’s a favorite in the Buffy universe for her complex character and her girl gone bad attitude. Faith is the antithesis of Buffy, while one is grounded by her moral compass, the other has a “want, take, have” attitude shaped from her rough upbringing in South Boston .

Though I am not sure if this book is considered canon by 20^th Century Fox, this book is an epistolary novel following the form used in the book it borrows its title from. The subtitle is “A Slayer’s diary” because the events are related through diary entries written by Faith herself and it goes into great detail to relate the events which led to her becoming “the chosen one.”

Levy, who has a Masters in forensic psychology, understands something about the human mind and employs this with great skill throughout the book, not only giving the reader a glimpse into the dark world which helps to form Faith’s volatile personality, but also into the harsh environment which helps to shape her views. He also has a keen knowledge of the Buffy universe, borrowing details from the show, even going as far as to develop relationships only mentioned in the show like former boyfriends, to shape a masterful piece of literature. The mystery woven into the book regarding the identity of the enigmatic “Malice” ensures the pacing is brisk and guarantees a page turner for any Buffy fan. I snatched if off the library shelves and devoured it during my free time from work and school. Trust me, you’ll want to read this one, it’s a winner.           

It's hump day. I haven't posted in a while because things have been hectic. On sunday I spent a great morning and afternoon shooting photos for my latest photo assignment due tomorrow. I have been dogged by a nagging cold and a test for my math class this coming tuesday and by work. I am taking a sabbatical from the Walnut Weekly News until my classes end in June. Then I will resume writing for them. I'm also thinking of taking some time out to write a book early this summer.

Photo class is progressing quite nicely. I got a few interesting shots downtown Sunday including this one in Pershing Square:

I found out that my digital camera also shoots video and I have been having fun recording short home videos and playing them back using Quicktime. I intend to get a bigger memory card and shoot some to upload to the website.

I also found out that my new computer also plays DVDS so I have dusted off my old Buffy discs and watch them from the comfort of my Vista powered desktop. Isn't technology grand??

Stay tuned for more comic reviews and our regularly scheduled blogs soon, when I have some more free time.

The Slayer population of the world has gone from 2 to nearly 2,000. Almost five hundred are working around the world with Buffy's organization in squads-or "terrorist cells," according to the American military. Buffy, Xander, Dawn and a passel of Slayers are currently bunked out in a Scottish castle, where the latest mission revealed a strange symbol carved out into human bodies.

Also, Dawn's a giant!

Comments: Buffy season 8 continues as Joss resumes the story of the Slayer post-Sunnydale. This is somewhat of a hard title for fans of the show to follow. Though it is a joy to have all the characters we love back in action, the comic seems too short, I wish it was twice as long, as many plots take a while to develop and the big payoff at the end always seems to come too soon.

 There is much here to love though, the long time fan is rewarded with references from the show and details only they can pick up on. For example, it's uncanny how the character of Andrew (making his first appearance in the book) speaks just as the character did on TV, rambling from one nerdy topic to another. His diatribe and examination of "Return of the Jedi" alone is almost worth the price of admission. This is a credit to Joss' writing skills as he makes a seamless transition from one medium to another.

There's a montage with Giles overseeing hundreds of Slayers fighting and it's nicely done, it's nice to see what Giles has been up to since the hellmouth was destroyed. 

Another treat is the way the characters continue to interact with one another. These people love each other and truly know each other and the dialogue which rang so true to many people is clearly evident here. Xander's acerbic wit, check, Buffy's pathos over her lot in life and her ability to blame herself for every bit that goes wrong, check, it's all here. Joss doesn't miss a beat. 

If there's one weakness with the book, it's not in the writing department but in the artwork. In particular, a dream sequence featuring Xander and Buffy looks very choppy. I am not sure if the artist was intentionally going for this look to convey a sense of surrealism, but it seems out of place and there isn't a lot of detail, as though the sequence was rushed to meet the printing deadline. Luckily, the artwork gets better as the story progresses, right down to the amusing shot of Xander wearing a yellow shirt with ducks all over it. The pacing of the story is particularly good, moving in a frantic pace as Amy unleashes one surprise after another on Buffy and her cohorts. There's even an interesting possible new romance brewing for Xander.

Final Word: Like the song says, "We've only just begun," with Angel, Spike, Faith and a cadre of great characters yet to put in an appearance, and with an upcoming magical smackdown between Amy and Willow, like a fine bottle of Merlot, this comic can only get better with time.

It seems unpardonable that a blog named Back to Sunnydale would fail to review the latest incarnation of Dark Horse's new Buffy comic book but my only excuse is that I have been swamped with work and even though I picked up my copy at Wizard World Los Angeles, I have had no time to comment on it. Until now. (However, I did first mention it was coming on this very blog last december)

I figured since issue #2 will be on the stands this coming Wednesday that I better say a few words before that happens. Needless to say that I am thrilled Joss is writing season 8 of the show in comic book format. The art is terrific and I loved seeing my favorite characters in action once again. I realized that my fellow reviewer from SBC Ray Tate pretty much said everything I was thinking in his recent review, so rather than rehash unoriginal thoughts, I have included his excellent appraisal of the comic here. I promise to include my own on issue #2 a little later this week after I have had the time to fully digest it.

Previously on Buffy the Vampire Slayer:
"In every generation, there is a Chosen One. She alone will stand against the vampires, the demons, and the forces of darkness. She is the Slayer....You're the one who sees everything, aren't you....Tomorrow, Willow will use the essence of the Scythe to change our destiny. From now on, every girl in the world who might be a Slayer, will be a Slayer. Every girl who could have the power, will have the power. Can stand up. Will stand up. Slayers....Every one of us. Make your choice. Are you ready to be strong?"

Joss Whedon kicks off Buffy the Vampire Slayer with an homage of the signature shot to "Rose" in Series One of Doctor Who, where the camera pans from space, to earth, to London and Rose's flat. In the book, from black space, we home in on earth, and turn the page for a stirring illustration of Buffy Summers cabling from a black, unmarked helicopter--good one. She leads her squad of Slayers into cosmos-knows what. Like Russell T. Davies did in Doctor Who, Joss Whedon doesn't stretch things. We've been waiting for this. The Doctor materializes early in the first act of "Rose." Buffy Summers returns on the first double spread page.

Rendered by Georges Jeanty--this incarnation of Buffy Summers is a dead ringer for Sarah Michelle Gellar. There are no ifs, ands or buts about it. That is our Slayer. Throughout the panels you'll see that he even gets her height correct. Sarah Michelle Gellar is not tall. She acts tall, but Michelle Trachtenberg, who portrayed, Dawn her "little" sister is actually taller than she. Whedon, whether by accident or design, includes a follow up joke to another one he made on the show that commented on the height differences between the two actresses.

Buffy and her team cable to a magically shielded disused church. Whedon comprehends just how the fantasy genre is supposed to work. If magic can erect a shield, magic can dispel such a force. He doesn't belabor the point. Buffy fires a no doubt magically enhanced gun to cut to the chase and lead the Slayers on a foray of trademark kick-assery that Buffy the Vampire Slayer is known for.

Before we get to the battle, we find commander Xander Harris, at headquarters, watching the Slayers. Here we enjoy another example of Whedon's brilliant wit. Xander thanks to Caleb, who was literally sliced in half by Buffy, now only has one eye. He watches the Slayers, plans out the moves and acts essentially as a handler for an agent. Whedon, the comic book buff, who included scenes such as kryptonite discussions between Xander and Oz, played by Seth Green, as well as Buffy's comic book role model Power Girl, naturally includes a fantastic Nick Fury joke. The diversity is where Whedon differs from other quipsters.

Whedon directs the joke toward a number of story elements. First, there's the humor itself. Second, he anticipates what the reader thinks. Third, Whedon engages the joke to exhibit character interaction between Xander and Slayer techie Renee. This also creates an illusion of time-passage. Clearly, Xander and Renee have known each other awhile, enough to gather some insight into each other's characters. While Xander may be a Watcher, which he firmly and humorously denies, he hasn't dried out. His rapid-fire jesting remains intact, and the pain and trauma of losing an eye becomes the object of Byronesque comedy. Hence, we find the first moment in the book of underlying depth in Whedon's Wonderful World of Buffy.

While Whedon cuts to Xander, he loses none of the momentum provided by the Slayers. Via screens set up by Jeanty, we watch the Slayers enter the Church at the same time that we enjoy Xander's rapier wit. This simultaneous usage of the comic book medium in addition eliminates the padding potential for endless-corridor syndrome, where characters are shown moving almost in real time down corridors, or other uninteresting architectural features.

Slayers don't dawdle. When faced with a door, they kick it down, and if you're a Slayer, that door's going to fly. The scene where Buffy kicks down the door is a terrific moment carried out with gusto in the pencils and inks and colors. There's just so many ways you can mess up a scene like that, but Jeanty, Owens and Stewart get it so very right. Monsters wait behind the door, and so begins the scenes that put the slay in Slayer. Three ugly super-strong monster brutes versus one short, slight blonde. Put your money on Buffy.

The series made terrific use of comic book sensibilities when Buffy faced the monsters, but there were obvious limitations--such as switches from actress to stunt double and budget. Here the budget's unlimited, and the author and artists take advantage of these bottomless coffers. The monsters from the series were beautifully designed, and the actors who portrayed the monsters did superb jobs, but the size of the monsters in the comic book exceed most of what was seen on the series. The alien nature of the monsters could have only been done with CGI or stop animation, but Buffy the Vampire Slayer was broadcast before CGI's evolution, and puppetry that would have taken too long. The scenes in the comic book are pure. It's Sarah Michelle Gellar as Buffy beating the gore out of hideous monsters. No make-up or animatronics. No green screen. No switches.

The next scene exemplifies what's different. The Slayers that came before Buffy fought alone. What made Buffy unusual from the very beginning was the involvement of her friends and her Watcher, Giles. Now, she has the back up of Slayer Squads, who announce their presence with well-timed violence.

The aftermath of the melee produces the clues to a mystery. This gives Buffy a moment to display her experience as the Slayer. There is only one Buffy, and she has lived, died twice, lived again and outwitted, out battled everything thrown at her. She's clever. She's resourceful, and she has seen a helluva lot. That said, the mystery proves baffling to Buffy and Xander, who cope with the enigma through smart, snarky repartee that speaks of their long friendship.

Two new players arrive on the scene. One stays off panel and mysterious. Whedon seems to be building the idea that it may be Spike or Angel, vampires with souls and smitten with our Slayer. That though doesn't seem likely since in the Joss Whedon universe, vampires do not fly, nor do they change into bats and the like. He may be a powerful mage of some sort.

The next player in the field is the United States Government. Now, Whedon I doubt is making a political statement. Rather through the machismo of the U.S. military, still unfortunately one of the most inhospitable places for women, he shows how mankind in general just might act if the playing field was leveled. The reason why women have been raped and abused by men is in part because the average man is simply physically stronger than the average woman, but what if every girl who wanted to be stronger suddenly become stronger? Whedon gave a taste of this in a montage of consequences from Willow's spell. In one scene, a woman cowering from a male fist suddenly gains the abilities of a Slayer. Things change.

The military--here symbolizing mankind--want the leveling of the field stopped. They want to return the status quo. Traditionally without strength, a man is useless. The Slayers make the military--mankind--useless. Enlightened men, like Xander Harris, Giles, Spike, Angel, Riley, Robin, Andrew, Jonathan, side and have sided with the Slayers. They don't agree with the stereotype behavior of certain men, but these men are few and far between. They represent the future where Slayers and men living together in harmony to fight the monsters that see humans merely as brunch. Likewise, while the Slayers are a sisterhood, the surprise ending--bringing back a character I never would have guessed to appear--suggests that women can be just as asinine and just as disloyal as men.

Much as with any of Whedon's projects, there are always outsiders that defy the very symbolism he sets up, and in this respect, we get to see just how much fun the author is having while writing. For example, so many academics have linked sex with traumatic change in Buffy the Vampire Slayer, yet it's not that simple. While it's true that Buffy having sex with Angel released Angelus the monster, her sex with Spike when he possessed a soul was not devastating and was fulfilling. As well, Willow has had three sexual partners in the series, and that sex hasn't triggered suffering. Angel, whose curse seemed to prevent him from having sex, found fulfillment in a charming girl, who also happens to be a werewolf.

In Buffy the Vampire Slayer, Dawn apparently experiences a sexual trauma, but Whedon fully aware of the reputation he's gained from knee-jerk critics, makes the consequences of her apparent sexual contact a hilarious moment. She suffers, but not in the way you think. The scene furthermore gives Jeanty, Owens and Stewart the leave to craft sequences displaying Buffy's sheer gladness over Dawn's predicament. She grins upon seeing her sister. Her body language is perfectly goofy, and the scenes are quite possibly some of the best comedic moments in comics, equal to any bwa-ha-ha-ha-ha-ha from Justice League. Just to make sure, his readers know that he's not cleverly speaking out against sex, he includes a quiet moment for Buffy that neatly catches up the reader to her mind-set and gives the reader a window into Buffy's thoughts on a variety of subjects, including sex.

In the Buffyverse, girls can be anything they choose. They can be Slayers, witches and technicians. They are not objectified. They are respected. They are feared. Buffy is back, and "the earth is defended."

The Slayer Handbook--Buffy Speak

"Vaped"--Vaporized

"Five-by-Five"--Introduced by fellow Slayer Faith in the television series--"Everything's fine."

"Copy"--Get.

"Bad math"--Bad sitch (situation).

"Muppety Odin"--Odin as a Muppet, surely that one was obvious. Ah, but is it more than that? A puppet god perhaps? The idea of a god being useless as a puppet? An allusion to Angel turning into a puppet in his television series? Nah. Odin as a Muppet