Buffy The Vampire Slayer
Season Eight
The Buffy television series ended with a bang. After seven seasons, Buffy and her friends defeated the First Evil and saved the world for what must have been the umpteenth time. At that point, it truly seemed like the perfect time to end this series, because after the defeating the greatest evil of all, where do you go from there? Were there any new storylines that could prove interesting enough for the franchise to explore?
Joss Whedon, the creator of the series, first attempted to revive the franchise as an animated series, but those efforts fell through. A few years later, Whedon struck a deal with Dark Horse Comics to bring Buffy back
as a comic in what would be called “Season Eight”. But could the franchise succeed in such a format?
Fortunately, the answer was yes. Although Season Eight would have its ups and downs, the Buffy franchise was reinvigorated because it allowed Whedon and company to tell stories on a much larger scale than was ever possible on a television budget. This becomes clear with the very first issue.
Just as important, Whedon succeeds in re-creating the basic tone and feel of the original television series. We get the same hip dialogue and
offbeat humor that fans are accustomed to, as well as the so-called Buffyspeak, in which the characters use nouns as verbs. There are also the usual pop-culture references that make for good humor, although they often don't mesh with the timeline in which they are presented. The series begins a year and a half after the events of Season Seven, which means it begins around late 2004 and likely ends sometime in 2005. However, the characters sometimes reference things and events that occur in later years. Overall, it's likely for the best, as people tend to have short memories and so using dated pop-culture references probably wouldn't work.
Other elements carry over from the television series as well, such as the constant referencing of things that happened in previous episodes. The original show also had a tradition of having episodes with great endings. Often, they weren't so much cliffhangers as they were exclamation points. Fortunately, Season Eight offers much of the same.
One of the problems the television series faced was that vampires weren't supposed to age, yet the actors playing them invariably did. When David Boreanaz (Angel) appeared on the final episode of Buffy, he had noticeably aged over the course of seven years since his very first appearance. Fortunately, the comic book format easily solves this problem.
Joss Whedon, the creator of the series, first attempted to revive the franchise as an animated series, but those efforts fell through. A few years later, Whedon struck a deal with Dark Horse Comics to bring Buffy back
as a comic in what would be called “Season Eight”. But could the franchise succeed in such a format?
Fortunately, the answer was yes. Although Season Eight would have its ups and downs, the Buffy franchise was reinvigorated because it allowed Whedon and company to tell stories on a much larger scale than was ever possible on a television budget. This becomes clear with the very first issue.
Just as important, Whedon succeeds in re-creating the basic tone and feel of the original television series. We get the same hip dialogue and
offbeat humor that fans are accustomed to, as well as the so-called Buffyspeak, in which the characters use nouns as verbs. There are also the usual pop-culture references that make for good humor, although they often don't mesh with the timeline in which they are presented. The series begins a year and a half after the events of Season Seven, which means it begins around late 2004 and likely ends sometime in 2005. However, the characters sometimes reference things and events that occur in later years. Overall, it's likely for the best, as people tend to have short memories and so using dated pop-culture references probably wouldn't work.
Other elements carry over from the television series as well, such as the constant referencing of things that happened in previous episodes. The original show also had a tradition of having episodes with great endings. Often, they weren't so much cliffhangers as they were exclamation points. Fortunately, Season Eight offers much of the same.
One of the problems the television series faced was that vampires weren't supposed to age, yet the actors playing them invariably did. When David Boreanaz (Angel) appeared on the final episode of Buffy, he had noticeably aged over the course of seven years since his very first appearance. Fortunately, the comic book format easily solves this problem.
The Twilight Story Arc
Every season of the television series had what was called a Big Bad, a major villain for Buffy to fight against, and the comic series doesn't stray from this. In fact, it employs a trick often used during the television series: it presents a villain early that appears to be the Big Bad, only to introduce the real Big Bad later.
In Season Two, vampires Spike and Drusilla appeared to be the Big Bads, but halfway through the season Buffy's vampire boyfriend Angel turned evil and became the season’s true Big Bad. In Season Three, Mr. Trick appeared to be the Big Bad, only to be later pushed aside by Mayor Wilkins. In Season Four, Maggie Walsh appeared to be the Big Bad, only to be later pushed aside by Adam. And in Season Six, the Trio appeared to be the Big Bads, only to be later pushed aside by Dark Willow.
Season Eight follows this pattern by quickly presenting a masked villain called Twilight as the apparent Big Bad. He assembles an army comprised of both demons and the United States military and uses it to launch attacks on Buffy and her Slayer squads (how he gets the United States to work with him in these campaigns is never explained).
In #33, in what has to be the highlight of Season Eight and as shocking as anything that ever occurred during the seven years of the television series, Twilight is unmasked and revealed to be none other than Angel! Shortly after, we learn that the real Big Bad is some otherworldly force (also called Twilight) that wants to... Well, it's never exactly clear what Twilight wants.
Unfortunately, the remaining eight issues of the series are a disappointment. The whole Twilight mythology turns out to be a muddled mess. After several readings, I still haven't been able to get a full grasp on it.
Apparently, when Buffy created the new Slayer line at the end of Season Seven, this resulted in some kind of imbalance in the universe. As a result, the universe has some kind of “grand plan” to correct this. Angel is approached by some supernatural force called Twilight and is given superpowers, such as the ability to fly. He is then told that the only way he can save Buffy from what will be a guaranteed death is for him to pose as Twilight and take control of the various forces around the world (both human and demon) that want to destroy the Slayer squads. By taking control of these forces, he can direct them at other targets when possible, thus minimizing the danger to Buffy. So even though Buffy is under attack from Twilight, the attacks apparently aren’t nearly as bad as they would have been had Twilight not been in command of these forces.
In Season Two, vampires Spike and Drusilla appeared to be the Big Bads, but halfway through the season Buffy's vampire boyfriend Angel turned evil and became the season’s true Big Bad. In Season Three, Mr. Trick appeared to be the Big Bad, only to be later pushed aside by Mayor Wilkins. In Season Four, Maggie Walsh appeared to be the Big Bad, only to be later pushed aside by Adam. And in Season Six, the Trio appeared to be the Big Bads, only to be later pushed aside by Dark Willow.
Season Eight follows this pattern by quickly presenting a masked villain called Twilight as the apparent Big Bad. He assembles an army comprised of both demons and the United States military and uses it to launch attacks on Buffy and her Slayer squads (how he gets the United States to work with him in these campaigns is never explained).
In #33, in what has to be the highlight of Season Eight and as shocking as anything that ever occurred during the seven years of the television series, Twilight is unmasked and revealed to be none other than Angel! Shortly after, we learn that the real Big Bad is some otherworldly force (also called Twilight) that wants to... Well, it's never exactly clear what Twilight wants.
Unfortunately, the remaining eight issues of the series are a disappointment. The whole Twilight mythology turns out to be a muddled mess. After several readings, I still haven't been able to get a full grasp on it.
Apparently, when Buffy created the new Slayer line at the end of Season Seven, this resulted in some kind of imbalance in the universe. As a result, the universe has some kind of “grand plan” to correct this. Angel is approached by some supernatural force called Twilight and is given superpowers, such as the ability to fly. He is then told that the only way he can save Buffy from what will be a guaranteed death is for him to pose as Twilight and take control of the various forces around the world (both human and demon) that want to destroy the Slayer squads. By taking control of these forces, he can direct them at other targets when possible, thus minimizing the danger to Buffy. So even though Buffy is under attack from Twilight, the attacks apparently aren’t nearly as bad as they would have been had Twilight not been in command of these forces.
Twilight
Ultimately, Buffy and Angel are offered some kind of reward: their own utopia, a separate universe that is created when they hook up romantically in issue #34. But the creation of this new universe causes rifts to open in our own universe, allowing hordes of demons to enter our reality. Buffy and Angel ultimately decide to abandon their newfound utopian paradise and return to Earth to save it. The demons are after the Seed of Wonder, an object of power buried in Sunnydale that is the reason why magic exists in the world. Buffy isn’t sure whether to protect the seed or destroy it. Ultimately, she destroys it, which not only defeats the demon hordes but in the process ends all magic as well as the multiple slayer lines that Willow created at the end of Season Seven. From this point forward, each generation will have only one Slayer, as it was previously. In the final issue (#40), we learn that the other Slayers turn against Buffy because of this, and thus she loses her Slayer army. Buffy and her friends settle in San Francisco, and she is a lone-wolf Slayer once again.
Unfortunately, there are many holes in the Twilight mythology which make the story hard to follow and even harder to enjoy. This is truly the most disappointing aspect of Season Eight.
Here’s an alternate route the writers could have taken. Imagine if, starting in issue #34, Angel becomes completely corrupted by the Twilight power and then threatens to take over the world (or destroy it). You could have had a story arc along the lines of the magnificent Dark Phoenix storyline of the X-Men comics. Imagine if other characters from the Angel television series then got involved in the conflict (assuming it would have been contractually possible) such as Gunn, Illyira, and perhaps even Wesley and Cordelia. Then you could have had a worthy grand finale without the murky mythology. Any fan fiction writers out there want to take a crack at it?
Unfortunately, there are many holes in the Twilight mythology which make the story hard to follow and even harder to enjoy. This is truly the most disappointing aspect of Season Eight.
Here’s an alternate route the writers could have taken. Imagine if, starting in issue #34, Angel becomes completely corrupted by the Twilight power and then threatens to take over the world (or destroy it). You could have had a story arc along the lines of the magnificent Dark Phoenix storyline of the X-Men comics. Imagine if other characters from the Angel television series then got involved in the conflict (assuming it would have been contractually possible) such as Gunn, Illyira, and perhaps even Wesley and Cordelia. Then you could have had a worthy grand finale without the murky mythology. Any fan fiction writers out there want to take a crack at it?
The Deaths of Major Characters
From issue #1 of The Long Way Home
In the final battle in #39, Angel (possessed by Twilight) kills Giles by snapping his neck (Ironically, Angel had also murdered Giles’s girlfriend Jenny Calendar in the same exact manner in Season Two's Passion). Whedon has a history of killing off relatively major characters, and this has paid dividends over the years. Battle scenes on Buffy have more dramatic impact than on most shows because viewers have been conditioned to believe that their beloved characters are never completely safe.
Giles’s death actually makes sense because the character had arguably become expendable. With Buffy now the leader of a Slayer army, she had less need for a mentor than ever (in fact, she came to the conclusion in Season Seven that she no longer needed a Watcher). There simply wasn’t a whole lot for the character to do, which explains why Giles was paired up with Faith for much of Season Eight, as she needed his assistance far more than Buffy did.
Killing off Giles also undoubtedly accomplishes another of Whedon’s goals: to make sure that none of the characters can ever be happy (since happiness makes for boring stories). Buffy and Angel rediscovered their love for each other during the final stage of the Twilight arc, but after Angel killed Giles, their relationship was torn asunder once again. Giles’s death will have a huge impact on the events of Season Nine as Angel searches for some kind of redemption.
But Giles isn't the only major character to die. There is also the death of Willow, or Dark Willow, in Time of Your Life (issues 16-19) which is the single best story arc of Season Eight. Buffy travels through time into the future where she encounters another slayer, Melaka Fray (originally featured in the Fray comic series), in a dark futuristic version of New York City which has flying hover cars and looks like something out of the film Blade Runner. Buffy also encounters Dark Willow (the evil version of Willow last seen at the end of Season Six) who is somehow still alive after hundreds of years and hasn’t aged. Willow manages to turn Fray against her. In the end, in order to return to her own time, Buffy is forced to kill Willow. This causes Buffy tremendous guilt, and she eventually confesses what she did to the present day Willow who takes the news rather well. But it's very possible that this will lead to increased friction between the two, especially in light of what happened at the end of the season when Buffy brought an end to the age of magic.
Giles’s death actually makes sense because the character had arguably become expendable. With Buffy now the leader of a Slayer army, she had less need for a mentor than ever (in fact, she came to the conclusion in Season Seven that she no longer needed a Watcher). There simply wasn’t a whole lot for the character to do, which explains why Giles was paired up with Faith for much of Season Eight, as she needed his assistance far more than Buffy did.
Killing off Giles also undoubtedly accomplishes another of Whedon’s goals: to make sure that none of the characters can ever be happy (since happiness makes for boring stories). Buffy and Angel rediscovered their love for each other during the final stage of the Twilight arc, but after Angel killed Giles, their relationship was torn asunder once again. Giles’s death will have a huge impact on the events of Season Nine as Angel searches for some kind of redemption.
But Giles isn't the only major character to die. There is also the death of Willow, or Dark Willow, in Time of Your Life (issues 16-19) which is the single best story arc of Season Eight. Buffy travels through time into the future where she encounters another slayer, Melaka Fray (originally featured in the Fray comic series), in a dark futuristic version of New York City which has flying hover cars and looks like something out of the film Blade Runner. Buffy also encounters Dark Willow (the evil version of Willow last seen at the end of Season Six) who is somehow still alive after hundreds of years and hasn’t aged. Willow manages to turn Fray against her. In the end, in order to return to her own time, Buffy is forced to kill Willow. This causes Buffy tremendous guilt, and she eventually confesses what she did to the present day Willow who takes the news rather well. But it's very possible that this will lead to increased friction between the two, especially in light of what happened at the end of the season when Buffy brought an end to the age of magic.
High Points
Giant Dawn
Many of Season Eight's best moments are when it is able to take full advantage of the comic book format and present stories and scenarios that simply never could have been done on the television show.
Besides the aforementioned Time of Your Life, the opening story arc The Long Way Home (issues 1-4) is a winner, reintroducing the Scooby Gang (including a giant-sized Dawn) in a whole new setting with Buffy helming a Slayer army in a castle in Scotland.
Buffy’s first battle with Twilight in #11 is also tremendous, and it’s the best standalone story of the season.
Wolves at the Gate (issues 12-15) is also surprisingly strong. It brings back Dracula and delivers a thrilling battle in Tokyo featuring the memorable image of giant Dawn stomping through the city (an obvious homage to Godzilla).
Issue #20 - After These Messages… We’ll Be Right Back! is a flashback to Season One. This cute romp gives readers an idea of what the proposed Buffy animated series would have looked like.
In issue #29, Buffy gets Superman-like powers such as the ability to fly and move faster than a speeding bullet. Xander tests her powers in #32, and with all the superhero references it's one of the more fun moments of the series.
Also, the Buffy/Xander dynamic, a long running thread in the show, comes full circle in Season Eight. Xander had a crush on Buffy (or was in love with her) since Season One, but she never reciprocated his feelings. In #28, Buffy finally falls for Xander (although there were hints of this starting in #2). It all comes to a head when Buffy confesses her feelings to Xander in #31. This conversation, scripted by Whedon, is easily one of the highlights of the season.
We also get appearances from many guest characters fans of the television show will be familiar with: Amy, Oz, Riley, Kennedy, Spike, Harmony and others. Buffy/Angel crossovers are easy to do now thanks to the comic book format, and it allows the writers unlimited freedom. Most of the time, these crossover appearances succeed rather than fail.
Besides the aforementioned Time of Your Life, the opening story arc The Long Way Home (issues 1-4) is a winner, reintroducing the Scooby Gang (including a giant-sized Dawn) in a whole new setting with Buffy helming a Slayer army in a castle in Scotland.
Buffy’s first battle with Twilight in #11 is also tremendous, and it’s the best standalone story of the season.
Wolves at the Gate (issues 12-15) is also surprisingly strong. It brings back Dracula and delivers a thrilling battle in Tokyo featuring the memorable image of giant Dawn stomping through the city (an obvious homage to Godzilla).
Issue #20 - After These Messages… We’ll Be Right Back! is a flashback to Season One. This cute romp gives readers an idea of what the proposed Buffy animated series would have looked like.
In issue #29, Buffy gets Superman-like powers such as the ability to fly and move faster than a speeding bullet. Xander tests her powers in #32, and with all the superhero references it's one of the more fun moments of the series.
Also, the Buffy/Xander dynamic, a long running thread in the show, comes full circle in Season Eight. Xander had a crush on Buffy (or was in love with her) since Season One, but she never reciprocated his feelings. In #28, Buffy finally falls for Xander (although there were hints of this starting in #2). It all comes to a head when Buffy confesses her feelings to Xander in #31. This conversation, scripted by Whedon, is easily one of the highlights of the season.
We also get appearances from many guest characters fans of the television show will be familiar with: Amy, Oz, Riley, Kennedy, Spike, Harmony and others. Buffy/Angel crossovers are easy to do now thanks to the comic book format, and it allows the writers unlimited freedom. Most of the time, these crossover appearances succeed rather than fail.
Low Points
In Wolves at the Gate (#12), Buffy decides to "experiment".
Unfortunately, not everything in Season Eight worked out well. Besides the confusing Twilight mythology, the overall season story arc lacked believability at times. In Harmonic Divergence (#20), we learn that humans around the world have begun to embrace and accept vampires into society. Of course, since vampires kill people, this is nothing less than ludicrous. To be fair, plot holes in fantasy stories are inevitable, and I'm willing to accept them to an extent, but this simply goes too far. Ultimately, this makes issue #20 the nadir of Season Eight.
I also don't buy that all the slayers would turn against Buffy simply because she destroyed the Seed of Wonder and put an end to all magic. She really didn't have a choice, and she probably saved their lives by doing so. The end of magic is portrayed as a bad thing, but it's hard to see how this is so. Magic has been consistently shown to be an evil and corruptive influence in the Buffyverse (as exemplified by Willow’s evil transformation in Season Six in which she almost destroyed the world). We've also seen bad witches such as Amy create all kinds of havoc. Even the end of the multiple slayer line may be for the best, as a number of slayers have used their powers for evil purposes. It's understandable that Whedon would want to separate Buffy from her slayer army in order to take the series in a new direction for Season Nine, but he took a shortcut in doing so. He should have either killed most of the Slayers off or simply stripped them of their powers. (Ironically, the one character who might understandably be angry at Buffy is Willow, given her attraction to magic, yet she seems to be one of the few who forgive her. Time will tell if this holds. As I mentioned earlier, I suspect it won't, and this will eventually lead to another major rift between the two.)
Another unfortunate turn is Buffy's experiment with homosexuality. Not only does it lack believability (most young people don’t go through a “gay phase”), but given Whedon's known liberal worldview, it makes one suspect that this is an attempt to promote homosexuality. I'm not against gay characters per se, but too often Hollywood seems more interested in
promoting gay “tolerance” than offering solid stories.
Issue #34 is also a low point, as Whedon and company apparently attempt to give us the Greatest Sex Scene in the History of the Universe! Opinions on this will differ, of course. Some will find Buffy and Angel’s intergalactic lovemaking steamy and erotic while others will just find it silly and eye-rolling (I lean toward the latter).
What’s also frustrating is that there is no clear theme or message for Season Eight. One possible idea the writers could have put forth is the danger of power because power often corrupts. Buffy bringing an end to the age of magic could have been a way to illustrate this point, but the event is portrayed in a negative light rather than as potentially the start of a golden age.
Another major problem with Season Eight is how long it took to complete. Issue #1 was released in March 2007, and the season ended with issue #40 in January 2011. This is almost four years, far too long for a single season, and it made it harder to enjoy the series overall. The sales figures for Season Eight seem to support this. #1 was the highest selling issue (108,919), and sales slowly but steadily declined over the course of the season with only a few exceptions. The last issue (#40) was the worst-selling issue (39,486). It appears that a monthly comic over a four-year span may just be too-slow paced for many people to follow in today's lightning-fast digital age. Fortunately, it has been announced that Season Nine will be completed in just two years (with two comics released each month and no off-months), and one would assume the sales numbers for Season Eight played a role in this decision.
I also don't buy that all the slayers would turn against Buffy simply because she destroyed the Seed of Wonder and put an end to all magic. She really didn't have a choice, and she probably saved their lives by doing so. The end of magic is portrayed as a bad thing, but it's hard to see how this is so. Magic has been consistently shown to be an evil and corruptive influence in the Buffyverse (as exemplified by Willow’s evil transformation in Season Six in which she almost destroyed the world). We've also seen bad witches such as Amy create all kinds of havoc. Even the end of the multiple slayer line may be for the best, as a number of slayers have used their powers for evil purposes. It's understandable that Whedon would want to separate Buffy from her slayer army in order to take the series in a new direction for Season Nine, but he took a shortcut in doing so. He should have either killed most of the Slayers off or simply stripped them of their powers. (Ironically, the one character who might understandably be angry at Buffy is Willow, given her attraction to magic, yet she seems to be one of the few who forgive her. Time will tell if this holds. As I mentioned earlier, I suspect it won't, and this will eventually lead to another major rift between the two.)
Another unfortunate turn is Buffy's experiment with homosexuality. Not only does it lack believability (most young people don’t go through a “gay phase”), but given Whedon's known liberal worldview, it makes one suspect that this is an attempt to promote homosexuality. I'm not against gay characters per se, but too often Hollywood seems more interested in
promoting gay “tolerance” than offering solid stories.
Issue #34 is also a low point, as Whedon and company apparently attempt to give us the Greatest Sex Scene in the History of the Universe! Opinions on this will differ, of course. Some will find Buffy and Angel’s intergalactic lovemaking steamy and erotic while others will just find it silly and eye-rolling (I lean toward the latter).
What’s also frustrating is that there is no clear theme or message for Season Eight. One possible idea the writers could have put forth is the danger of power because power often corrupts. Buffy bringing an end to the age of magic could have been a way to illustrate this point, but the event is portrayed in a negative light rather than as potentially the start of a golden age.
Another major problem with Season Eight is how long it took to complete. Issue #1 was released in March 2007, and the season ended with issue #40 in January 2011. This is almost four years, far too long for a single season, and it made it harder to enjoy the series overall. The sales figures for Season Eight seem to support this. #1 was the highest selling issue (108,919), and sales slowly but steadily declined over the course of the season with only a few exceptions. The last issue (#40) was the worst-selling issue (39,486). It appears that a monthly comic over a four-year span may just be too-slow paced for many people to follow in today's lightning-fast digital age. Fortunately, it has been announced that Season Nine will be completed in just two years (with two comics released each month and no off-months), and one would assume the sales numbers for Season Eight played a role in this decision.
Great Artwork
The art in Buffy is consistently very good and sometimes sensational, thanks to the tremendous work of Georges Jeanty. With the decline in comic book sales over the years, the quality of the art has also declined as a result of publishers hiring younger, less talented artists who will work for less money. Fortunately, Whedon has enough clout that he can insist on having top-quality artists for Buffy.
This is even truer of the cover art. Each issue is offered with at least two different covers, one of them drawn by Jo Chen whose work is nothing short of breathtaking. I normally deplore multiple covers because it's usually just a gimmick to sell more copies. But Dark Horse makes good use of the concept, and some of the B covers are homages to other classic comic covers (such as Action Comics #1). This sometimes makes the B covers more interesting than the A ones.
One of the refreshing things about the art is that the women don’t look like supermodels, a common cliché in many comic
books. It's also nice that the artists are able to draw the likenesses of the original actors. This isn't always done because the publisher has to pay a licensing fee. Fortunately, the Buffy franchise is popular enough to allow for this. As a result, Buffy
actually looks like Sarah Michelle Gellar. If she didn't, the comic just wouldn't be the same.
Has Buffy Helped Save The Comic Book Industry?
With the continued decline of the comic book industry since its collapse in 1993, many have questioned whether or not it can survive with all the competition from other types of media that now exist. Buffy is proof that it can. There are a number of franchises that have fan bases that are not large enough to support a television series or feature film but are certainly large
enough to support a comic book. Since the debut of Season Eight we have seen other franchises get the comic treatment such as Charmed, Serenity, and Dollhouse. No doubt there will be many more to come in the future. There will certainly always be a niche for comic books. As far as Buffy is concerned, Dark Horse has already announced that there will be a season ten and
eleven. I’m looking forward to reading them.
My Ratings System
These comic reviews are patterned after the episode guides from Spectrum Magazine, a now defunct publication that covered fantasy television and movies. It had great Buffy episode guides, and I hope what I'm doing here is a worthy follow-up. I'm going to use the same five-star rating system that Spectrum used for its episode guides. For the most part, I'm only going to rate single issues when they contain standalone stories. Most of the four and five-issue story arcs will be rated as a group.
Five stars - Outstanding
Four stars - Excellent
Three stars - Good
Two stars - Average
One star - Terrible.
This is even truer of the cover art. Each issue is offered with at least two different covers, one of them drawn by Jo Chen whose work is nothing short of breathtaking. I normally deplore multiple covers because it's usually just a gimmick to sell more copies. But Dark Horse makes good use of the concept, and some of the B covers are homages to other classic comic covers (such as Action Comics #1). This sometimes makes the B covers more interesting than the A ones.
One of the refreshing things about the art is that the women don’t look like supermodels, a common cliché in many comic
books. It's also nice that the artists are able to draw the likenesses of the original actors. This isn't always done because the publisher has to pay a licensing fee. Fortunately, the Buffy franchise is popular enough to allow for this. As a result, Buffy
actually looks like Sarah Michelle Gellar. If she didn't, the comic just wouldn't be the same.
Has Buffy Helped Save The Comic Book Industry?
With the continued decline of the comic book industry since its collapse in 1993, many have questioned whether or not it can survive with all the competition from other types of media that now exist. Buffy is proof that it can. There are a number of franchises that have fan bases that are not large enough to support a television series or feature film but are certainly large
enough to support a comic book. Since the debut of Season Eight we have seen other franchises get the comic treatment such as Charmed, Serenity, and Dollhouse. No doubt there will be many more to come in the future. There will certainly always be a niche for comic books. As far as Buffy is concerned, Dark Horse has already announced that there will be a season ten and
eleven. I’m looking forward to reading them.
My Ratings System
These comic reviews are patterned after the episode guides from Spectrum Magazine, a now defunct publication that covered fantasy television and movies. It had great Buffy episode guides, and I hope what I'm doing here is a worthy follow-up. I'm going to use the same five-star rating system that Spectrum used for its episode guides. For the most part, I'm only going to rate single issues when they contain standalone stories. Most of the four and five-issue story arcs will be rated as a group.
Five stars - Outstanding
Four stars - Excellent
Three stars - Good
Two stars - Average
One star - Terrible.
Buffy Season Eight Comic Reviews
Issue #4 of The Long Way Home
The Long Way Home
Issues #1-4
Written by Joss Whedon
Brief summary:
#1: Buffy leads a squad of slayers and kills a horde of demons. Xander watches her from command central in a castle in Scotland. Dawn has morphed into a giant and her relationship with Buffy has deteriorated. The U.S. Army captures someone in the hole where Sunnydale used to be located: a witch named Amy.
#2: Buffy, Giles, and Andrew all lead different Slayer squads. Xander asks Dawn if she made herself big on purpose so Buffy would notice her. An American general bears the mark of Twilight on his chest. Buffy kisses Xander in a dream sequence. Amy invades the castle and casts a spell on Buffy. The only way she can wake up is if she is kissed by someone who is in love with her. A large horde of demons attack the castle. Amy escapes only to be confronted outside by a returning Willow.
#3: Buffy encounters Ethan Rayne in a dreamscape. Willow battles Amy and manages to make the demons stop attacking and start dancing. Giant Dawn squashes Amy by stomping on her. Someone secretly kisses Buffy and causes her to wake up. Xander comforts an injured Renee. Amy manages to teleport both herself and Willow away, revealing a trap. Willow finds herself on an operating table and is confronted by someone she believed she had killed: Warren!
#4: It is revealed that Warren was saved by Amy before Willow could kill him. He lobotomizes Willow, who transfers her psyche to another dimension to avoid feeling any pain. Buffy chooses an Asian slayer named Satsu to join her on a mission to rescue Willow. Buffy and Satsu are teleported to a military base where they battle American soldiers. Buffy defeats Amy who escapes with Warren. Willow is rescued. Ethan Rayne is discovered dead, shot in the head. A captured general tells Buffy that she and her Slayers are now at war with the entire human race.
To read a detailed summary of this story arc, click here.
COMMENTS: With The Long Way Home, Joss Whedon successfully reinvigorates the Buffy franchise. The first issue is stellar, giving us a story that simply could not have been done on a television budget. We start with Buffy and her squad attacking a horde of demons by dropping out of a helicopter. We see Xander in charge of command central in a castle in Scotland. Later, we discover that Dawn has morphed into a giant! The ending is great as we discover that the U.S. military has captured Amy. Buffy has often had great episode endings, and it’s nice that the comic is able to deliver the same in the first issue. As most fans know, Amy is a witch that put a hex on Willow during Season Seven.
Issue #2 is also exceptional. It begins by showing Buffy, Giles and Andrew each in charge of a slayer squad. Andrew is easily one of the funniest characters in the Buffyverse, and it’s great that he is still a member of the Scooby Gang. The biggest shock of the issue is when Buffy makes a suggestive comment to Xander, inviting him to bed, then kisses him. The whole thing turns out to be a dream sequence, but it makes one wonder if after all these years a Buffy/Xander romance is finally in the cards. Amy’s challenge to Xander to kiss Buffy to try and break the spell she’s under only adds to it. The ending cliffhanger is great with Willow arriving to confront Amy. She uses the same line Giles used on her in episode 6.21 Two To Go: “I’d like to test that theory.”
Issue #3 delivers the surprise return of Ethan Rayne, a longtime rival of Giles who was last seen in episode 4.12 A New Man. Buffy’s dreamscape adventure is well-done, and there other nice twists such as Willow using her magic to make the demons stop fighting and start dancing, and giant Dawn stomping Amy.
Finally, there’s the moment when someone who is in love with Buffy kisses her in order to wake her up from the spell that Amy cast. It is strongly implied that Xander is the one, but the next issue would reveal otherwise.
The ending is another shocker, as it is revealed that one of the people behind the plot is Warren, whom it was believed Willow killed in episode 6.20 Villains. I have a problem with this. In issue #4, we learn that Amy teleported Warren away at the last moment and created the illusion that he had been incinerated. This rewriting of history is something that happens way too much in many superhero comics, and it’s a shame to see it happen here. Unfortunately, we would see something similar later in the season when the Master is brought back to life.
Also in the final issue, the mystery of who kissed Buffy is solved. Surprisingly, it is not Xander but an Asian Slayer named Satsu. The reveal is done subtly enough that some readers may not figure it out. Buffy borrows some lip gloss from Satsu and recognizes that it is cinnamon. Right before Buffy woke up from the spell, she felt a cinnamon taste on her lips.
This is clever but disappointing, especially to someone like me who over the years has hoped to see a Buffy/Xander relationship develop. But it was also a letdown because it was hard to understand at the time where the writers could possibly go with this angle. Unfortunately, they would eventually do the unthinkable…
Anyway, the truly low point of the comic would come later when we see Buffy and Satsu attacking American soldiers, leaving some of them seriously wounded or perhaps even dying. This is in really bad taste, and I even wrote a letter to Dark Horse complaining about their negative portrayal of the U.S. government which they actually printed in the letters page of issue #5.
What really ticked me off was that it appeared at the time that the United States was going to be the Big Bad of Season Eight! Thank God this did not turn out to be the case, but I still get annoyed with the constant anti-Americanism in the news and entertainment media. Joss Whedon is usually so good at writing stories that go against the usually cliché, so why not have the United States be a force for good in the world? Wouldn’t that be a refreshing change for once?
There’s a cool Spiderman reference (sort of). When giant Dawn punches the castle wall and injures her hand, Buffy says, “Dawnie, you know you’re not as proportionally strong as you are large.”(Spiderman is often said to have the proportionate strength and speed of a spider.)
Another great bit is when Willow is rescued and Dawn joyfully jumps up and down, causing a minor earthquake and Xander asking someone to tell her to stop.
But the very best moment is at the end when the general tells Buffy that she and her slayers are now at war with the entire human race! Buffy responds, “Oh. Kay.”
This is simply one of the best Buffy endings ever. It’s not so much a cliffhanger as it is an exclamation point. Unfortunately, the writers would back away from this angle, as we never really get the feeling that there is an international effort to destroy the Slayers, but it’s a tremendous ending nonetheless.
The only other drawback in the story arc is a lame joke that Whedon makes against religion in issue #1. Buffy says she feels weird having used a crucifix to kill a demon, and an Irish Slayer responds, “Yeh dinna know much about religion, do yeh?” Hardy har. Whedon, an avowed atheist, has done this kind of thing before. As good as he usually is with humor, his attempts to
mock religion always seem to fall flat. (In episode 4.1 The Freshman - Buffy is walking along a college campus and is approached by a Christian asking her if she had accepted Jesus Christ as her personal savior. Buffy responds, “You know, I meant to, and then I just got really busy.” Lame.)
Two other notes: We learn in the early pages of issue #1 that the woman hanging with the Immortal in the Angel episode 5.20 The Girl In Question was not Buffy but a decoy. (Whedon has said he tried to write a story with Buffy and the Immortal but couldn’t make it work). Also, one of the covers for issue #4 with giant Dawn holding Buffy in the palm of her hand is simply
superb.
More than anything, The Long Way Home proves beyond a shadow of a doubt that there is still life in the Buffy franchise. If not for the lesbian angle and the anti-American sentiment, it would warrant a five-star rating.
The Chain
Issue #5
Written by Joss Whedon
To read a detailed summary of this issue, click here.
COMMENTS: The first standalone issue of Season Eight turns out to be a slight disappointment. Maybe it’s just me, but I never found the any of the other Slayers to be all that interesting. The flashbacks and jumping around make the story hard to follow. I think I might have liked this one better if Whedon had simply focused the entire story on the unknown Slayer that was traveling underground. Perhaps the best part of this comic is the outstanding cover art. I can appreciate the attempt to do something different (this is the first “episode” in the history of the series in which Buffy does not appear). Unfortunately, it just didn't result in a good story this time around. I don't have a whole lot else to say about this one, so let’s just move on to the next issue.
An homage to the 1960s Avengers TV series.
No Future For You
Issues #6-9
Written by Brian K. Vaughan
To read a detailed summary of this story arc, click here.
COMMENTS: This is the first story arc written by someone other than Joss Whedon. Overall, it succeeds, although the individual issues aren’t as strong as the ones from the previous arc. No Future For You focuses on Faith, and we learn that she hasn’t done so well since the end of Season Seven. Not only has she distanced herself from Buffy, she is now living in Cleveland where another hellmouth exists. Her early mission is especially disturbing as she is forced to slay a group of vampires that inhabit the bodies of children.
The main problem with this arc is that Faith’s mission to kill a human slayer is never all that engrossing, but fortunately writer Brian Vaughan writes some top-notch dialogue for the five-by-five girl, capturing the character perfectly. The flashbacks are particularly well-done. In the beginning of #7, we see Buffy stabbing Faith from their battle during Season Three. It illustrates why Faith has never been able to become close with Buffy even after their reconciliation in Season Seven.
Issue #9 contains a missing scene from episode 3.21 Graduation Day in which Mayor Wilkins talks to Faith. The comic picks up where the original conversation ended. In a nice bit of commentary, Faith says of Wilkins, “Dude may have been a snake… but he wasn’t a dog.”
The fight scenes are pretty cool, especially when it appears that Faith at one point is trying to kill Buffy (after they tumble out the window and into the moat). There is also some great dialogue between Faith and Roden just before they battle. Giles expanding a force field from inside Roden’s head is a clever trick, and it shows just how far he is willing go to do what he believes to be the greater good. The mission creates a rift between him and Buffy, and it will take a long time for it to heal.
At the end, we are introduced to Twilight for the first time (who is really Angel under the mask). Twilight’s comment that his followers Genevieve and Roden were actually his targets now make even more sense in retrospect. His true goal was to deflect the attacks away from the Slayers as much as possible, so the fact that they were killed was a good thing.
This story arc brings up the disturbing fact that not all of the girls who are granted the powers of the Slayer will use them for good. Some will commit evil. How much responsibility does Buffy bear for this? We will see more Slayers go down the same path as Genevieve later in the season.
Dr. Who and Rose Tyler from the recent Dr. Who television series make a cameo on the street in issue #6. Also in the
same issue, Buffy tells Xander about her dreams of a creature that looks half-lion and half demon, and we get our first real glimpse of the true Big Bad of Season Eight. The conversation between Buffy and Xander seems to have a kind of sexual tension (Xander appears to be covering up his attraction to Buffy), although the writer here may just be being cute.
The alternate cover for issue #9 is a clever nod to the 1960s Avengers television series. Ultimately, however, this is one story arc where the whole does not equal the sum of its parts.
Anywhere But Here
Issue #10
Written by Joss Whedon
To read a detailed summary of this issue, click here.
COMMENTS: The Twilight story arc starts to pick up the pace with this issue. The art by Cliff Richards is not up to par with previous issues, but the story is strong enough that this can be overlooked.
Buffy and Willow’s journey is fascinating, and we are shown and told some intriguing things, that someone close to Buffy will betray her (who would turn out to be Angel), and that the end of magic is coming. We also see a glimpse of the future in which Buffy is lying on the ground shivering (This scene would occur at the end of issue #39 after Buffy destroys the Seed of
Wonder).
A small rift occurs between Willow and Buffy in this issue. Buffy learns that Willow somewhat regrets bringing her back to life (in episode 6.1 Bargaining, Part One). Willow feels responsible for Tara’s death because by bringing Buffy back to life, it ultimately put Tara in harm’s way (in episode 6.19 Seeing Red, Warren shot Buffy with a gun; Tara was caught in the crossfire and was killed). Because of this, Willow has kept Kennedy away from Buffy. She has also kept a distance from Buffy, being away for much of the time.
It is also revealed that Buffy and her Slayers robbed a bank to get the money to finance her Slayer squad’s activities. Of course, this is a questionable move on Buffy’s part. You could argue that she and her Slayers were at least partially justified since they didn’t do it for personal gain, and they’ve been doing good around the world by killing demons and saving people’s
lives. However, this has also attracted attention from other countries and has made the Slayers a target, putting them in harm’s way (exactly what Willow fears).
The final image is a powerful one as we see Buffy and Willow walking off in separate directions. I believe that this, in addition to later events in the season such as Buffy bringing about the end of magic, will likely lead to another major conflict between the two (in Season Nine or later).
I’m tempted to give this just three and a half stars because of the artwork, but the more I think about this issue, the more I like it, so I’m going to bump it up to four stars.
A Beautiful Sunset
Issue #11
Written by Joss Whedon
Brief Summary: Xander tells Buffy about a group of rogue Slayers led by Simone Doffler. Buffy and Satsu go patrolling. Buffy tells her she knows that Satsu was the one who kissed her. The two defeat a group of vampires, and then Twilight attacks. He quickly dispatches Satsu, and then fights Buffy but tells her he wants to talk. He tells her that Buffy made a mistake in creating all the new Slayers and that it will bring disaster down on both them and the entire world. He questions whether Buffy and her squad have really made a difference in the world, and then flies off. Afterwards, Twilight tells his followers that his goal was destroy Buffy’s "moral certainty". He partially lifts up his mask, revealing that he is human. Xander tells Buffy that, as leader, she doesn’t get to feel connected to the girls in the same way they feel connected to each other.
To read a detailed summary of this issue, click here.
COMMENTS: The series is on a roll again as Joss Whedon delivers the single best standalone issue of Season Eight (#33 is my pick for the single best issue, but it isn’t a standalone).
The first two pages give us a nice flashback to episode 7.22 Chosen. We see images of girls (including Satsu) transforming into Slayers, and Willow using the scythe to cause the transformation. There’s also an image of Buffy fighting Caleb.
If Genevieve hadn’t been bad enough, Buffy now has to deal with an entire squad of Slayers abusing their powers. Again, it brings up the question as to whether Buffy did the right thing in creating the new Slayer line, and it is this angle that Twilight (Angel) exploits in his attempt to destroy Buffy’s “moral certainty.” Of course, in retrospect, Angel was trying to save Buffy, but it has been revealed in Season Nine’s Angel and Faith series that Angel did not just pose as Twilight; he was actually under the influence of Twilight at times and cannot remember everything that he did. Given the ferocity of Twilight’s assault on Buffy (both physically and psychologically), I suspect this was one of those times when Angel did not have total control (if any).
Anyway, the battle between Buffy and Twilight is fantastic. Whedon delivers the kind of fight (Twilight flying over the city with Buffy on top of him) that could never have been done on the television show. You rarely saw characters fly on the TV series because it’s virtually impossible to do it on a television budget and make it look good.
We get the cool Buffyspeak as well. As Twilight threatens to drop a church on Buffy (in what is another amazing image), she says, “Go ahead. Church me.” (Buffyspeak, of course, is when the characters use nouns as verbs)
The battle is brief but powerful. And then there is the moment afterwards when Twilight slightly lifts his mask, and we realize that he is human and thus is probably the one who has been prophesied to betray Buffy. The big question at the time, of course, was… Who is he?
I didn’t realize it until after his identity was revealed, but this issue includes a powerful clue as to who Twilight is. At one point during the battle, Buffy tries to underswing the scythe and hit Twilight in the crotch, but he blocks it and says, “I know that move, Slayer.” That move, of course, is the one that Buffy used on Caleb in episode 7.22 Chosen when she split him in half. Only three other characters were present at the time: The First, Spike, and Angel.
There are other moments that stand out. Buffy has some great dialogue in her conversation with Satsu while they battle the vampires in the graveyard. It’s funny how she carries on a casual conversation in the middle of a life and death battle. When one of the vampires interrupts her, she says, “Ack! Please, we’re talking.” There is also a nice reference to episode 4.22 Restless. When Satsu falls and gets mud all over her face, Buffy mentions that she looked like that in a dream one time.
There is another great line. When one of Twilight’s followers says to him, “You didn’t kill her”, he answers, “That’s been done. To little effect.” Of course, this refers to the fact that Buffy has died twice and each time came back to life.
Overall, this is a perfect issue. Well, almost. There is one flub that occurs during the battle. After Twilight first rams into Buffy and knocks her to the ground, her face is bleeding. But in the next frame she’s in, the bleeding disappears and then reappears near the end of the sequence.
Also, I have a minor quibble about Twilight’s line when he partially lifts his mask. He says, “Sorry, itchy neck.” Apparently, Whedon needed an excuse to have Twilight lift his mask so the readers could see that he was human. Fine. But that particular line doesn’t sound like something that Angel would say, and it almost feels like Whedon is cheating in an attempt to throw the readers off. The line actually sounds more like something that Andrew would say, and after reading it I felt almost certain that Twilight was Andrew (and I continued to believe it was a possibility for a long time). However, if you look closely at Twilight’s build, it’s clear that he’s too large to be Andrew.
Giant Dawn stomping through Tokyo.
Wolves at the Gate
Issues #12-15
Written by Drew Goddard
Brief Summary: Buffy sleeps with Satsu, and their night of passion is quickly discovered by the rest of the Scooby Gang. A group of vampires attack the castle and steal the scythe. These vampires have the ability to transform just like Dracula. Xander and Renee seek out Dracula’s help. The vampires are followed to Japan where they plan to use the scythe to render all the Slayers powerless. Renee is killed in the battle, and this devastates Xander. Giant Dawn is teleported to the fight and rampages through Tokyo like Godzilla. The vampires are defeated, Buffy regains the scythe, and she has one more night of passion with Satsu before the two say farewell.
To read a detailed summary of this story arc, click here.
COMMENTS: Issue #12 is arguably the most controversial Buffy story ever, involving her sleeping with Satsu. First, from a storyline point of view, I don’t think it’s believable that Buffy would do this since she’s never shown any hint of being attracted to other women. Joss Whedon has reportedly said that this was a logical step for the character. Perhaps he’s coming from the ultra-liberal viewpoint that sexual experimentation is a normal, natural thing for young people. However, I would argue that this is a myth. Most young people don’t experiment with homosexuality.
Buffy editor Scott Allie has argued that Buffy's actions make sense because “she always tries to wash away her loneliness with someone who is available and is really interested…” But this simply isn’t true. For years there were plenty of times when Buffy was lonely and Xander was available and more than willing to be with her, yet she never turned to him. The arguments made for Buffy doing this just aren’t very strong.
I also feel obliged to make the moral argument that to have Buffy (who happens to be a role model for many people) experiment with homosexuality and portray this as a natural phase of life (in issue #31, Buffy says, “I was supposed to have that phase”) is just plain wrong and sets a very bad example. Given the huge impact that the entertainment industry has on our society, I believe they have an obligation to act in a responsible manner (which it seems they rarely do anymore).
That said, I have mixed feelings about this. While I think it was wrong and in some ways deplorable, I can’t deny that it was brilliantly executed. First off, they wisely spare us any images of Buffy and Satsu’s lovemaking (although they wouldn’t spare us later in the story arc), and we first see them lying in bed after it is over. Buffy tells Satsu that she doesn’t want anyone to know about what happened, and this gives the reader the expectation that the event will be kept a secret until sometime much later when the truth accidentally comes out. But then this storytelling cliché is abruptly shattered when, one by one, all of Buffy’s friends quickly stumble (or in Willow’s case, crash) into her room and discover what she’s done. It’s easily the funniest moment of the entire season, and it helps to diminish the initial disgust of readers like myself.
#12 also has a nice scene with Willow flying with Andrew at her side, and there are some humorous references to Superman’s flight with Lois Lane in the 1978 Superman movie. The Xander/Renee relationship has been slowly building since issue #1, and Xander finally asks her out. The dialogue is good, but the two just don’t generate any sparks. Finally, the Japanese vampires are pretty cool, (especially the female vampire witch Kumiko who can fly) and their ability to transform is a great twist.
#13 has a humorous scene with Andrew in a Dracula costume explaining the Count’s various powers and listing them on a chalkboard. Another humorous scene is when Willow asks Satsu what Buffy was like in bed. And there is a great ending where the vampires use the scythe to rob the Slayer Aiko of her powers.
In issue #14, Buffy’s merciless interrogation and execution of the captured vampire is a highlight. There is more great dialogue between Xander and Renee about the awkwardness of going on a first date. Giant Dawn’s appearance in Tokyo is a delight, as well as Andrew’s line, “Well, there’s something you don’t see every day.” And we are given another great ending in
which Buffy and the rest walk into the vampire’s trap. They turn around to find Renee impaled on the scythe. Finally, the alternate cover which has giant Dawn rampaging through Tokyo is superb, but I wish they would have used it in the next issue rather than this one because it spoils what is one of the highlights of Season 8.
#15 gives us the big battle, and it is phenomenal. We start with one of the most unique death scenes ever, as we experience Renee’s death through her own eyes. Another great moment is when Willow and Kumiko battle in midair, and Buffy jumps off the ledge of the skyscraper and plummets ten stories before landing on Kumiko’s back and staking her. Then she and Willow plummet the rest of the way, and Buffy struggles to wake her up in time. Giant Dawn faces a giant mechanized version of herself, and Andrew coaching her on how to defeat it is hilarious (“I’ve been practicing for this day my entire life!”).
It should be noted that writer Drew Goddard was also a writer for the seventh season of Buffy. It’s nice that some of the writers from the television series were able to return. We would also see longtime Buffy writers Jane Espenson and Douglas Petrie later.
Overall, a very strong story arc, but it loses half a star for the lesbian angle as well as the image of Buffy and Satsu making love on the final page (I think I’m being generous here).
Issues #12-15
Written by Drew Goddard
Brief Summary: Buffy sleeps with Satsu, and their night of passion is quickly discovered by the rest of the Scooby Gang. A group of vampires attack the castle and steal the scythe. These vampires have the ability to transform just like Dracula. Xander and Renee seek out Dracula’s help. The vampires are followed to Japan where they plan to use the scythe to render all the Slayers powerless. Renee is killed in the battle, and this devastates Xander. Giant Dawn is teleported to the fight and rampages through Tokyo like Godzilla. The vampires are defeated, Buffy regains the scythe, and she has one more night of passion with Satsu before the two say farewell.
To read a detailed summary of this story arc, click here.
COMMENTS: Issue #12 is arguably the most controversial Buffy story ever, involving her sleeping with Satsu. First, from a storyline point of view, I don’t think it’s believable that Buffy would do this since she’s never shown any hint of being attracted to other women. Joss Whedon has reportedly said that this was a logical step for the character. Perhaps he’s coming from the ultra-liberal viewpoint that sexual experimentation is a normal, natural thing for young people. However, I would argue that this is a myth. Most young people don’t experiment with homosexuality.
Buffy editor Scott Allie has argued that Buffy's actions make sense because “she always tries to wash away her loneliness with someone who is available and is really interested…” But this simply isn’t true. For years there were plenty of times when Buffy was lonely and Xander was available and more than willing to be with her, yet she never turned to him. The arguments made for Buffy doing this just aren’t very strong.
I also feel obliged to make the moral argument that to have Buffy (who happens to be a role model for many people) experiment with homosexuality and portray this as a natural phase of life (in issue #31, Buffy says, “I was supposed to have that phase”) is just plain wrong and sets a very bad example. Given the huge impact that the entertainment industry has on our society, I believe they have an obligation to act in a responsible manner (which it seems they rarely do anymore).
That said, I have mixed feelings about this. While I think it was wrong and in some ways deplorable, I can’t deny that it was brilliantly executed. First off, they wisely spare us any images of Buffy and Satsu’s lovemaking (although they wouldn’t spare us later in the story arc), and we first see them lying in bed after it is over. Buffy tells Satsu that she doesn’t want anyone to know about what happened, and this gives the reader the expectation that the event will be kept a secret until sometime much later when the truth accidentally comes out. But then this storytelling cliché is abruptly shattered when, one by one, all of Buffy’s friends quickly stumble (or in Willow’s case, crash) into her room and discover what she’s done. It’s easily the funniest moment of the entire season, and it helps to diminish the initial disgust of readers like myself.
#12 also has a nice scene with Willow flying with Andrew at her side, and there are some humorous references to Superman’s flight with Lois Lane in the 1978 Superman movie. The Xander/Renee relationship has been slowly building since issue #1, and Xander finally asks her out. The dialogue is good, but the two just don’t generate any sparks. Finally, the Japanese vampires are pretty cool, (especially the female vampire witch Kumiko who can fly) and their ability to transform is a great twist.
#13 has a humorous scene with Andrew in a Dracula costume explaining the Count’s various powers and listing them on a chalkboard. Another humorous scene is when Willow asks Satsu what Buffy was like in bed. And there is a great ending where the vampires use the scythe to rob the Slayer Aiko of her powers.
In issue #14, Buffy’s merciless interrogation and execution of the captured vampire is a highlight. There is more great dialogue between Xander and Renee about the awkwardness of going on a first date. Giant Dawn’s appearance in Tokyo is a delight, as well as Andrew’s line, “Well, there’s something you don’t see every day.” And we are given another great ending in
which Buffy and the rest walk into the vampire’s trap. They turn around to find Renee impaled on the scythe. Finally, the alternate cover which has giant Dawn rampaging through Tokyo is superb, but I wish they would have used it in the next issue rather than this one because it spoils what is one of the highlights of Season 8.
#15 gives us the big battle, and it is phenomenal. We start with one of the most unique death scenes ever, as we experience Renee’s death through her own eyes. Another great moment is when Willow and Kumiko battle in midair, and Buffy jumps off the ledge of the skyscraper and plummets ten stories before landing on Kumiko’s back and staking her. Then she and Willow plummet the rest of the way, and Buffy struggles to wake her up in time. Giant Dawn faces a giant mechanized version of herself, and Andrew coaching her on how to defeat it is hilarious (“I’ve been practicing for this day my entire life!”).
It should be noted that writer Drew Goddard was also a writer for the seventh season of Buffy. It’s nice that some of the writers from the television series were able to return. We would also see longtime Buffy writers Jane Espenson and Douglas Petrie later.
Overall, a very strong story arc, but it loses half a star for the lesbian angle as well as the image of Buffy and Satsu making love on the final page (I think I’m being generous here).
Buffy vs. Fray!
Time of Your Life
Issues #16-19
Written by Joss Whedon
Brief summary: Dawn transforms into a centaur. Later, Twilight launches a rocket attack on the castle. Buffy is teleported into the future where she encounters a Slayer named Melaka Fray. She discovers that the Fray is the only current Slayer and wonders why the future turns out so bleak. Fray’s brother, a vampire leader named Harth, forms an alliance with Dark Willow, who has apparently been alive for hundreds of years but can no longer perform any magic. Willow eventually meets Fray and convinces her that Buffy will destroy the world if she is allowed to return to her own time. Buffy and Fray fight each other, but Buffy wins. Willow stands in front of the magic portal to block Buffy from leaving. Buffy is forced to kill Willow with the scythe. She returns to her own time, but is devastated by what she did. Fray is relieved to discover that Willow was lying and that her world still exists.
To read a detailed summary of this story arc, click here.
COMMENTS: Time of Your Life is hands down the best story arc of Season Eight. One reason it works so well is that, once again, Joss Whedon delivers a story (Buffy travels through time into a Blade Runner-like future) that could never have been done on a television budget.
First, some back story on Fray. The slayer Melaka Fray was first introduced in the eight-issue Fray comic series. Fray inherited the powers of the slayer but not the dreams and memories that normally come with them. These actually went to her twin brother Harth. He was turned into a vampire and later becomes a leader of the vampires, using his special knowledge of the Slayers against her. By the end, Fray accepts her role as the Slayer, but Harth remains at large and is a continuous threat.
The opening dialogue in #16 is a nod to the opening scene of Fray #1 (“Bad day. Started out bad, stayed that way.”) We see Buffy and Fray battling each other and falling off a rooftop. The story then cuts to a few days earlier in which Dawn goes through another metamorphosis. Buffy’s discovery of Dawn is hilarious when she says, “Yay! Dawnie, yay?” Dawn is then revealed to be a centaur (half-human, half-horse), and she answers, “Neigh.” Later, Xander’s botched attempt to comfort Dawn is also funny. The cliffhanger is great as Buffy is teleported through time and finds herself in front of Fray who talks in a kind of Futurespeak that Buffy doesn’t understand.
#17 gets better as we follow Fray’s side of the story before Buffy arrives. Fray says she read something about a “madwoman” who has“lived for centuries”. Then we cut to Harth who is talking to a woman whose face we cannot see. Of course, one of the first impressions the reader gets is that the woman may be Drusilla, the insane vampire who was a longtime paramour of Spike. But, of course, she is eventually revealed to be Dark Willow. The dialogue between the two is top-notch, especially when Willow says that Slayers don’t get along well together. The story cuts to the present with Willow saying “This is my fault.” Ironically, it is her fault, but in a way she doesn’t realize.
Buffy’s brief fight with Fray is cool as they fall and crash on top of a flying hover car. The dialogue is priceless:
Fray: Offa me, Shifter!
Buffy: I am not shifty!
Fray: That’s spin! You think I’m a slack?
Buffy: You are talking crazy-person talk. Put your words in word places, please.
Later, Buffy says, “Boy, the English language is just losing it. I should have treated it better.”
At the end, Whedon does a brilliant job shifting from humor to drama as Buffy realizes just how bad the world is and wonders if all her efforts to make the world a better place will be for naught.
In #18, there is a great scene where Harth confronts Gunther, and it ends looking like Gunther is going to be killed. One of the long-running jokes on the television series was that Buffy can’t drive, and that continues here as Buffy struggles to fly a hover craft and ultimately crashes it.
Fray’s conversation with Dark Willow is also well-done, particularly Willow’s line about how the most important in men in both Buffy’s and Fray’s lives are vampires. The Xander/Dawn subplot is okay but, aside from Twilight’s rocket attack on the castle, never gets particularly interesting.
It all comes to a head in #19. Willow’s cryptic comments are great as they keep everyone guessing, even Harth. The Buffy/Fray battle is short but awesome as we can hear the thoughts of each Slayer during the fight. And Buffy killing Willow is another one of the highlights of the season. It’s a fascinating moment, as Willow seems resigned to her fate and doesn’t even attempt to fight back. Though it does seems odd at first. Many readers may wonder why Buffy chooses to kill Willow instead of simply knocking her aside. The likely answer is that Buffy didn’t know that Willow was powerless and thus had no way of knowing how much force would be too much. With only seconds left before the portal closed, she decided to strike a blow with everything she had.
Buffy realizes at the end that Dark Willow was orchestrating the events, not just bringing her to the future but telling her how to get back home, leading to their final confrontation on the rooftop. It also appears that Willow wanted Buffy to kill her, though we aren't given an answer as to why. There is a hint in the beginning of issue #19 when Willow talks about how she hates history in the sense of being a part of it and having to live it. This indicates that her existence for the past two hundred years has not been pleasant and that she wants it to end. Perhaps only Buffy could kill her, or perhaps the scythe was the only weapon powerful enough to kill an immortal. Perhaps dying at Buffy's hands was meant as a bit of revenge, knowing it would cause Buffy great anguish. Hopefully, those answers will come in Season Nine.
As great as this story arc is, it is even better in retrospect after reading Season Eight in its entirety. Because Buffy brought an end to the age of magic, we now understand why Dark Willow is virtually powerless. Willow’s cryptic comment that “the most important thing about death isn’t who dies, it’s who kills them” also becomes more clear. Willow knew that Buffy was destined to kill her (because Buffy told her in issue #28). Also, Willow lies to Fray about how Buffy going back home would end the world, but Willow likely believed it to be true from her own perspective because when Buffy ended all magic, it was probably an end to the world at least as Willow knew it.
There’s no question there will be huge ramifications to come because of this. All in all, it is a remarkable achievement of
writing.
The big question is whether this Dark Willow is in fact the same Willow of the present day or is simply from an alternate universe. It’s hard to see how Willow could go dark again now that magic is gone, so the latter would have to be a possibility. I can’t wait to see how this all plays out, though it may be a long wait. Hopefully, Whedon and the writers will find a way to keep Fray relevant to what is happening in the current timeframe. It’s hard to imagine another time travel adventure taking place anytime soon, but I definitely would like to see some continuation of that story.
It’s also great that artist Karl Moline was used for this particular story arc. He is the same artist that was used on the original Fray comic series. His work here is absolutely fantastic, and it’s fascinating to see his versions of Buffy, Willow, Xander, and Dawn.
No doubt about it. Time of Your Life is Buffy at its best.
Issues #16-19
Written by Joss Whedon
Brief summary: Dawn transforms into a centaur. Later, Twilight launches a rocket attack on the castle. Buffy is teleported into the future where she encounters a Slayer named Melaka Fray. She discovers that the Fray is the only current Slayer and wonders why the future turns out so bleak. Fray’s brother, a vampire leader named Harth, forms an alliance with Dark Willow, who has apparently been alive for hundreds of years but can no longer perform any magic. Willow eventually meets Fray and convinces her that Buffy will destroy the world if she is allowed to return to her own time. Buffy and Fray fight each other, but Buffy wins. Willow stands in front of the magic portal to block Buffy from leaving. Buffy is forced to kill Willow with the scythe. She returns to her own time, but is devastated by what she did. Fray is relieved to discover that Willow was lying and that her world still exists.
To read a detailed summary of this story arc, click here.
COMMENTS: Time of Your Life is hands down the best story arc of Season Eight. One reason it works so well is that, once again, Joss Whedon delivers a story (Buffy travels through time into a Blade Runner-like future) that could never have been done on a television budget.
First, some back story on Fray. The slayer Melaka Fray was first introduced in the eight-issue Fray comic series. Fray inherited the powers of the slayer but not the dreams and memories that normally come with them. These actually went to her twin brother Harth. He was turned into a vampire and later becomes a leader of the vampires, using his special knowledge of the Slayers against her. By the end, Fray accepts her role as the Slayer, but Harth remains at large and is a continuous threat.
The opening dialogue in #16 is a nod to the opening scene of Fray #1 (“Bad day. Started out bad, stayed that way.”) We see Buffy and Fray battling each other and falling off a rooftop. The story then cuts to a few days earlier in which Dawn goes through another metamorphosis. Buffy’s discovery of Dawn is hilarious when she says, “Yay! Dawnie, yay?” Dawn is then revealed to be a centaur (half-human, half-horse), and she answers, “Neigh.” Later, Xander’s botched attempt to comfort Dawn is also funny. The cliffhanger is great as Buffy is teleported through time and finds herself in front of Fray who talks in a kind of Futurespeak that Buffy doesn’t understand.
#17 gets better as we follow Fray’s side of the story before Buffy arrives. Fray says she read something about a “madwoman” who has“lived for centuries”. Then we cut to Harth who is talking to a woman whose face we cannot see. Of course, one of the first impressions the reader gets is that the woman may be Drusilla, the insane vampire who was a longtime paramour of Spike. But, of course, she is eventually revealed to be Dark Willow. The dialogue between the two is top-notch, especially when Willow says that Slayers don’t get along well together. The story cuts to the present with Willow saying “This is my fault.” Ironically, it is her fault, but in a way she doesn’t realize.
Buffy’s brief fight with Fray is cool as they fall and crash on top of a flying hover car. The dialogue is priceless:
Fray: Offa me, Shifter!
Buffy: I am not shifty!
Fray: That’s spin! You think I’m a slack?
Buffy: You are talking crazy-person talk. Put your words in word places, please.
Later, Buffy says, “Boy, the English language is just losing it. I should have treated it better.”
At the end, Whedon does a brilliant job shifting from humor to drama as Buffy realizes just how bad the world is and wonders if all her efforts to make the world a better place will be for naught.
In #18, there is a great scene where Harth confronts Gunther, and it ends looking like Gunther is going to be killed. One of the long-running jokes on the television series was that Buffy can’t drive, and that continues here as Buffy struggles to fly a hover craft and ultimately crashes it.
Fray’s conversation with Dark Willow is also well-done, particularly Willow’s line about how the most important in men in both Buffy’s and Fray’s lives are vampires. The Xander/Dawn subplot is okay but, aside from Twilight’s rocket attack on the castle, never gets particularly interesting.
It all comes to a head in #19. Willow’s cryptic comments are great as they keep everyone guessing, even Harth. The Buffy/Fray battle is short but awesome as we can hear the thoughts of each Slayer during the fight. And Buffy killing Willow is another one of the highlights of the season. It’s a fascinating moment, as Willow seems resigned to her fate and doesn’t even attempt to fight back. Though it does seems odd at first. Many readers may wonder why Buffy chooses to kill Willow instead of simply knocking her aside. The likely answer is that Buffy didn’t know that Willow was powerless and thus had no way of knowing how much force would be too much. With only seconds left before the portal closed, she decided to strike a blow with everything she had.
Buffy realizes at the end that Dark Willow was orchestrating the events, not just bringing her to the future but telling her how to get back home, leading to their final confrontation on the rooftop. It also appears that Willow wanted Buffy to kill her, though we aren't given an answer as to why. There is a hint in the beginning of issue #19 when Willow talks about how she hates history in the sense of being a part of it and having to live it. This indicates that her existence for the past two hundred years has not been pleasant and that she wants it to end. Perhaps only Buffy could kill her, or perhaps the scythe was the only weapon powerful enough to kill an immortal. Perhaps dying at Buffy's hands was meant as a bit of revenge, knowing it would cause Buffy great anguish. Hopefully, those answers will come in Season Nine.
As great as this story arc is, it is even better in retrospect after reading Season Eight in its entirety. Because Buffy brought an end to the age of magic, we now understand why Dark Willow is virtually powerless. Willow’s cryptic comment that “the most important thing about death isn’t who dies, it’s who kills them” also becomes more clear. Willow knew that Buffy was destined to kill her (because Buffy told her in issue #28). Also, Willow lies to Fray about how Buffy going back home would end the world, but Willow likely believed it to be true from her own perspective because when Buffy ended all magic, it was probably an end to the world at least as Willow knew it.
There’s no question there will be huge ramifications to come because of this. All in all, it is a remarkable achievement of
writing.
The big question is whether this Dark Willow is in fact the same Willow of the present day or is simply from an alternate universe. It’s hard to see how Willow could go dark again now that magic is gone, so the latter would have to be a possibility. I can’t wait to see how this all plays out, though it may be a long wait. Hopefully, Whedon and the writers will find a way to keep Fray relevant to what is happening in the current timeframe. It’s hard to imagine another time travel adventure taking place anytime soon, but I definitely would like to see some continuation of that story.
It’s also great that artist Karl Moline was used for this particular story arc. He is the same artist that was used on the original Fray comic series. His work here is absolutely fantastic, and it’s fascinating to see his versions of Buffy, Willow, Xander, and Dawn.
No doubt about it. Time of Your Life is Buffy at its best.
This is what the Buffy cartoon would have looked liked!
After These Messages… We’ll Be Right Back!
Issue #20
Written by Jeph Loeb
Brief Summary: Buffy falls asleep and has a dream that takes place during Season One. She awakens to find her mother and Dawn. Giles warns her of a pending apocalypse, and she slays the demons involved only to learn later that there are two more she missed. She goes after them and is picked up by a flying dragon. She kicks off the ruby attached to its head, causing the dragon to disappear. Buffy then wakes up in the present day.
To read a detailed summary of this story issue, click here.
COMMENTS: This issue is based on the proposed Buffy animated series that was never picked up. The story is an expanded version of a promo that was created for it. The promo clip is available to view on YouTube. You can view it here.
It’s a nice change of pace and another good use of the comic book format to take the Buffy franchise into new territory. This story takes place during Season One, presumably after the events of episode 1.7 Angel.
There’s little substance to the basic plot, but the story is a visual treat from start to finish. It’s amusing as Buffy reacts to seeing her friends and loved ones as they once were, and she can’t help but blurt out how they’ve changed or what will happen to them. She almost tells Willow that she is or will become gay, but manages to stop herself. We even get two cameo appearances from Cordelia who displays her classic Season One nastiness, and Buffy reveals that she knows Cordelia is dead. But how does she know? Some have suggested that Andrew told her after he returned from his trip to Los Angeles (in Angel episode 5.21 Power Play) which is a possibility. (I would love to see Buffy’s reaction to the Angel/Cordelia romance that occurred. I don’t think she could possibly know about that!) Dawn also appears, even though she wasn’t around in Season One, but everyone’s memories had been altered to believe that she was.
The deepest, most interesting scene is when Buffy meets Angel on a rooftop at night. She asks him if he would tell someone about their future if he knew what it was, and he says no, he wouldn’t because you might just make things worse. Obviously, Buffy was thinking of warning him about how their love affair would ultimately cost him his soul, but after his answer she decides not to try to interfere with history.
Harmonic Convergence
Issue #21
Written by Jane Espenson
To read a detailed summary of this issue, click here.
COMMENTS: This is the nadir of Season Eight, and it’s a shame because there’s almost no reason why a story featuring Harmony can’t be a winner. She is a wonderful character and has already been featured in a great Angel episode (5.9 Harm’s Way).
Jane Espenson has written some great Buffy episodes such as 3.18 Earshot and 4.3 The Harsh Light of Day, but it’s hard to imagine how any writer could salvage what may be the most ludicrous premise ever presented in a Buffy story – that humans would accept vampires into society despite the fact that they kill people. We’ve seen a few stupid, naïve people idolize vampires (in episode 2.7 Lie To Me), but are we to believe that all of civilization could be so dumb? And that they would see the Slayers as evil? Or at least worse than vampires?
On top of the ridiculous premise, the story just isn’t funny (although the alternate cover is pretty cool). Espenson’s attempts at humor have succeeded (4.17 Superstar) as well as failed (6.12 Doublemeat Palace); as a Buffy writer she has been erratic to say the least.
That said, there is one great scene. As Buffy is talking on a cell phone to a potential Slayer recruit, we see Willow, Xander and Dawn as a centaur standing in the background. A few frames later, we see Xander struggling to hold back a horse that has the hots for Dawn and is trying to get to her.
Swell
Issue #22
Written by Steven S. DeKnight
To read a detailed summary of this issue, click here.
COMMENTS: This issue conjures up memories of the classic Angel episode 5.14 Smile Time. There are cute stuffed vampy cat dolls that are actually demons which take possession of human beings.
Satsu and Kennedy get a story for themselves, and it’s a good one. The twist at the end where Satsu uses a submarine to destroy the demons is clever. I also liked it when she tosses her cinnamon lip gloss in the waste basket, indicating that she is finally ready to put Buffy behind her. Unfortunately, the character still isn’t all that interesting.
Buffy is a Bond girl!
Predators and Prey
Issue #23
Written by Drew Z. Greenberg
To read a detailed summary of this issue, click here.
COMMENTS: This is a nice story that emphasizes that Andrew has truly become a member of the Scooby Gang. Andrew is without out a doubt one of the funniest characters in the Buffyverse, and there’s a great scene early where Buffy tells Xander she can handle traveling with Andrew. We then go to several frames of them traveling together in which Andrew is talking about all kinds of subjects including whether a Jedi could defeat Superman, why Vanity Smurf was misunderstood, and how it was lame that Lee Adama got fat at the end of the second season of Battlestar Galactica. At one point, Buffy says, “Stop.” Of course, the reader is expecting Buffy to flip out and go crazy, but instead it turns out that she just wants her turn to talk, and the two of them have“geek-bonded.”
As usual, Andrew delivers a big dose of humor (such as when he tells Buffy that she “traded up” when she went from Angel to Spike), and yet the story manages to humanize him somewhat. It is revealed that Andrew brought an extinct Ragna demon back to life in an attempt to capture the rogue slayers, but he didn’t tell Buffy about it. He confesses to Buffy about how much his job as Watcher means to him, and he was scared he might lose her trust. That’s why he went to such extreme lengths to try to capture the Slayers on his own. Buffy assures him that the only way he can lose her trust is to lie to her.
I’m not a big fan of Simone Douffler, the leader of the rogue slayers, but she makes an interesting speech to Buffy arguing that the slayers should attack the humans because, if they don’t, the humans will take them out. In a sense, she’s similar to Magneto, the mutant villain from the X-Men comics who makes the same argument regarding mutants. So now Buffy is becoming similar to the X-Men, only with slayers substituting for mutants – a distinction without much of a difference.
One of the funniest moments comes when Simone offers to give Buffy the Ragna demon in exchange for Andrew:
Buffy: You'd give back the demon... for just... Andrew? (To Andrew) No offense.
Andrew: None taken.
Buffy’s refusal to abandon Andrew to Simone is a nice touch, as well as the end when she tells Andrew that he’s “part of the family.” It's also cool to see Buffy wield a gun (which I don't believe she's done since Season 2).
Finally, this issue has a great alternate cover in which Andrew is James Bond and Buffy is a Bond girl, but she stands beside him with her arms folded and an annoyed look on her face.
Safe
Issue #24
Written by Jim Krueger
To read a detailed summary of this issue, click here.
COMMENTS: Last seen in issue #9, Faith and Giles finally return in what is unfortunately a lackluster story. Once again, we’re presented with members of the Watcher’s Council who aren’t much better than the vampires they’ve vowed to fight against. This was an ongoing thread on the original show that never made much sense to me. It also doesn’t help that the art is a big step down from what the comic has usually offered.
There is one amusing bit about how a Slayer needs to keep her mouth closed when she slays a vampire or she’ll choke on the dust. Other than that, there isn’t much here to recommend.
Living Doll
Issue #25
Written by Douglas Petrie
To read a detailed summary of this issue, click here.
COMMENTS: Dawn’s ongoing story arc that began back in issue #1 is finally wrapped up. Despite being penned by longtime Buffy writer Douglas Petrie, it feels like this could have been a lot better.
The scenes with Dawn as a tiny doll are cute, although it isn’t clear how the other dolls are alive. Are they demons? Robots? And exactly who is the old man who owns them? These questions are never answered.
Furthermore, the ending isn’t all that creative. The “villain” of the story (Kenny) simply changes his mind and decides to return Dawn to human form. It’s the kind of ending that Shakespeare has often been criticized for. That said, the story overall is entertaining enough.
Retreat
Issues #26-30
Written by Jane Espenson
To read a detailed summary of this story arc, click here.
COMMENTS: The Twilight storyline finally kicks into a higher gear as Andrew’s slayer squad, as well as Giles and Faith, find themselves under attack and are forced to seek refuge with Buffy in her castle. Giles and Buffy quickly make up, and Andrew has a great line when he hugs Dawn and says, “I can’t believe how much you’ve shrunk!”
Unfortunately, the demons have also found Buffy’s castle by homing in on the magicks the Slayers are using. Their assault using catapults to shoot firebombs is pretty cool, and it forces Buffy to retreat in the submarine that Satsu stole.
The ending of #26 is pretty wild as Willow teleports the submarine onto the front lawn of a Tibetan monastery where Oz
sits.
#27 gives us the back story of what happened to Oz, how he met his current wife and how he was able to use the land to absorb his powers. The two have a baby, which makes Willow somewhat jealous, as it seems as though Oz has the perfect life. In the end, he offers the Slayers the same option: Forfeit their powers so that Twilight can no longer track them.
#28 is an excellent issue in which Andrew is the narrator, and it’s a sequel of sorts to episode 7.15 Storyteller. We see clips from Andrew’s video camera which allows the story to jump around more than usual. The details of how the Slayers forfeit their powers is a lot of Gaia-like “connect with the land” mumbo jumbo, one of those explanations that doesn’t really
explain anything. But it doesn’t really matter.
Buffy and Faith start to bond somewhat. Faith is glad to be rid of the power, while Buffy isn’t. Buffy realizes Faith cared about many of the girls that were killed, whereas Buffy never bonded with them due to her aloofness that results from being their leader.
There is another short but powerful scene with Xander and Dawn where she tells him he should go for what he wants. Later, Xander urges Buffy to tell Willow that she had killed Dark Willow in the future. When she finally does, Willow doesn't seem bothered by it at all. In fact, she feels sure that she won't go dark again.
Buffy then goes off to see Xander, and there’s a strong indication that she has developed feelings for him. Then, in one of the biggest shockers of Season Eight, Buffy discovers Xander and Dawn kissing!
Amazingly, after all these years, Buffy has finally fallen for Xander. But why does this happen? There were hints of this going back to issue #2 when Buffy kisses Xander in a dream, but I think the main reason it happened has to do with the fact that Buffy lost her powers.
It’s been said that women are attracted to status more than looks. They’re attracted to men who they perceive are of an equal or higher status than they are. When Buffy was the Slayer, Xander could never be on her level, and thus she could never reciprocate his feelings. Now that her powers are gone, she finally perceives him as being her equal, and that’s why she can finally fall for him. Of course, I could be wrong.
As someone who for years has wanted Buffy and Xander to get together, seeing the image of Xander and Dawn kissing was like a knife to the gut (Why, Joss??? Why do you torture me so???). However, from a storyline point of view, I can understand why Whedon would be reluctant to pair the two together because there wouldn’t be any real conflict in their relationship, which makes for boring stories.
Overall, issue #28 is a four-star effort.
The Slayers have taken apart their submarine and exchanged the parts for conventional weaponry like guns, grenades and missile launchers (a bit of a stretch, I know), but it allows them to fight a different kind of battle in issue #29.
Early on, there is an interesting scene where Willow is in a state of panic, worried that none of them have any kind of future. It’s clear now that she actually isn’t okay with the idea that she may be destined to die at Buffy’s hands.
The former Slayers actually look pretty cool wearing the green army helmets. The actual battle is pretty ludicrous but fun nonetheless. It’s also hilarious when they slide submarine torpedoes down the hill to attack the incoming tanks. The ending is also clever when they are call upon magical goddesses to attack the enemy.
How does Twilight get the human military forces to operate under his command? There is no attempt to ever explain
this.
In issue #30, it is revealed that the goddesses are not on anyone’s side, and they’ll kill the former Slayers as well as the enemy. There is a nice moment where Buffy calls for Xander to see if he’s okay. When he comes forward, she hugs him for a long moment, leaving Dawn confused. There is another great ending as Buffy is picked up by one of the goddesses and then dropped to the ground, leaving the impression she might be dead. We then cut to hours later, and Buffy suddenly rises into the air. She’s flying!
Issues #26-30
Written by Jane Espenson
To read a detailed summary of this story arc, click here.
COMMENTS: The Twilight storyline finally kicks into a higher gear as Andrew’s slayer squad, as well as Giles and Faith, find themselves under attack and are forced to seek refuge with Buffy in her castle. Giles and Buffy quickly make up, and Andrew has a great line when he hugs Dawn and says, “I can’t believe how much you’ve shrunk!”
Unfortunately, the demons have also found Buffy’s castle by homing in on the magicks the Slayers are using. Their assault using catapults to shoot firebombs is pretty cool, and it forces Buffy to retreat in the submarine that Satsu stole.
The ending of #26 is pretty wild as Willow teleports the submarine onto the front lawn of a Tibetan monastery where Oz
sits.
#27 gives us the back story of what happened to Oz, how he met his current wife and how he was able to use the land to absorb his powers. The two have a baby, which makes Willow somewhat jealous, as it seems as though Oz has the perfect life. In the end, he offers the Slayers the same option: Forfeit their powers so that Twilight can no longer track them.
#28 is an excellent issue in which Andrew is the narrator, and it’s a sequel of sorts to episode 7.15 Storyteller. We see clips from Andrew’s video camera which allows the story to jump around more than usual. The details of how the Slayers forfeit their powers is a lot of Gaia-like “connect with the land” mumbo jumbo, one of those explanations that doesn’t really
explain anything. But it doesn’t really matter.
Buffy and Faith start to bond somewhat. Faith is glad to be rid of the power, while Buffy isn’t. Buffy realizes Faith cared about many of the girls that were killed, whereas Buffy never bonded with them due to her aloofness that results from being their leader.
There is another short but powerful scene with Xander and Dawn where she tells him he should go for what he wants. Later, Xander urges Buffy to tell Willow that she had killed Dark Willow in the future. When she finally does, Willow doesn't seem bothered by it at all. In fact, she feels sure that she won't go dark again.
Buffy then goes off to see Xander, and there’s a strong indication that she has developed feelings for him. Then, in one of the biggest shockers of Season Eight, Buffy discovers Xander and Dawn kissing!
Amazingly, after all these years, Buffy has finally fallen for Xander. But why does this happen? There were hints of this going back to issue #2 when Buffy kisses Xander in a dream, but I think the main reason it happened has to do with the fact that Buffy lost her powers.
It’s been said that women are attracted to status more than looks. They’re attracted to men who they perceive are of an equal or higher status than they are. When Buffy was the Slayer, Xander could never be on her level, and thus she could never reciprocate his feelings. Now that her powers are gone, she finally perceives him as being her equal, and that’s why she can finally fall for him. Of course, I could be wrong.
As someone who for years has wanted Buffy and Xander to get together, seeing the image of Xander and Dawn kissing was like a knife to the gut (Why, Joss??? Why do you torture me so???). However, from a storyline point of view, I can understand why Whedon would be reluctant to pair the two together because there wouldn’t be any real conflict in their relationship, which makes for boring stories.
Overall, issue #28 is a four-star effort.
The Slayers have taken apart their submarine and exchanged the parts for conventional weaponry like guns, grenades and missile launchers (a bit of a stretch, I know), but it allows them to fight a different kind of battle in issue #29.
Early on, there is an interesting scene where Willow is in a state of panic, worried that none of them have any kind of future. It’s clear now that she actually isn’t okay with the idea that she may be destined to die at Buffy’s hands.
The former Slayers actually look pretty cool wearing the green army helmets. The actual battle is pretty ludicrous but fun nonetheless. It’s also hilarious when they slide submarine torpedoes down the hill to attack the incoming tanks. The ending is also clever when they are call upon magical goddesses to attack the enemy.
How does Twilight get the human military forces to operate under his command? There is no attempt to ever explain
this.
In issue #30, it is revealed that the goddesses are not on anyone’s side, and they’ll kill the former Slayers as well as the enemy. There is a nice moment where Buffy calls for Xander to see if he’s okay. When he comes forward, she hugs him for a long moment, leaving Dawn confused. There is another great ending as Buffy is picked up by one of the goddesses and then dropped to the ground, leaving the impression she might be dead. We then cut to hours later, and Buffy suddenly rises into the air. She’s flying!
Buffy The Vampire Slayer: Willow
Written by Joss Whedon
To read a detailed summary of this issue, click here.
COMMENTS: Released as a one-shot in December 2009, here’s a flashback story that takes place before the events of Season Eight. As a result, it’s not integral to the season story arc, and readers could skip it without really missing anything. The introduction says that Willow’s powers “have grown exponentially” since the destruction of Sunnydale, and the answer to the reason why begins with this issue.
Willow starts some meta-physical journey to learn more about herself and her powers. There’s a cute Harry Potter reference in the beginning, as Willow enters a train station that looks just like the one from the Harry Potter movies, and there are young children dressed in Hogwartz wizard garb. The reader probably can’t help but wonder in that moment if the Buffy and Harry Potter universes are one and the same, but the train station turns out to be an illusion.
The best part is when Willow is forced to battle a knight, and she finds herself speaking in song titles: Stop! In the name of love! I believe I can fly! Do you really want to hurt me? Don’t go breaking my heart. Love is a battlefield.
The main purpose of the story seems to be to give the readers a little background on Aluwyn, a female snake-like demon who will probably feature a larger role in the events of Season Nine. She is said to be a “trickster” who thrives on chaos and would love to see Willow corrupted. Yet Willow ultimately decides to choose Aluwyn as her guide despite these warnings. The end in which Willow appears naked before her is obviously meant to hint at some kind of romantic attraction. In issue #10, there was a flashback that revealed Willow had sex with Aluwyn. This is disturbing on two levels. Not only is Willow having sex
with a demon, but she is cheating on Kennedy! Are the writers trying to make Willow unlikeable?
It’s possible that this story is meant to be the beginning of Willow’s second descent into darkness (assuming that actually happens), and Aluwyn will likely play a crucial role. Unfortunately, the story as a whole is pretty weak.
Buffy flies in Turbulence (#31)
Turbulence
Issue #31
Written by Joss Whedon
Brief summary: A flying Buffy lands, unsure of what to make of her new superpowers. Willow regains the power to use magic. And injured Riley tells Buffy he’s proud of her. Twilight captures Giles, Faith, and Andrew. Willow unsuccessfully tries to attack the three giant goddesses. A dying soldier tells Buffy how he regrets never telling the woman he loved how he felt. Buffy then tells Xander that she has feelings for him, but he is skeptical. Xander tells her that he loves Dawn. The two come to an understanding. Buffy then reveals her new powers to Xander, Dawn, and Kennedy. Buffy defeats the three Goddesses and tells Willow that Xander and Dawn are in love.
To read a detailed summary of this issue, click here.
COMMENTS: Turbulence is a phenomenal issue, and one of the highlights of Season Eight. The Buffy/Xander dynamic, an ongoing thread since Season One, comes to a head in a big way. Longtime fans will remember that Xander had a crush on Buffy from the moment he first met her, and in Episode 1.12 (Prophecy Girl) Xander finally asks Buffy out, but she rejects him. Xander remained attracted to her for several years, but Buffy never reciprocates his feelings, although there were occasional hints that she might (I actually met actor Nicholas Brendon and he told me that Buffy and Xander almost got together in Season Seven).
For the past few issues, Buffy has been either sad or angry in response to Xander and Dawn's relationship. Here she finally tells Xander her true feelings for him, and the conversation, scripted by Whedon, is truly a marvel. I haven't mentioned artist Georges Jeanty very often, but his work here is top notch, particularly the way he captures Buffy's emotions and reactions. We see Buffy go from shy, to hopeful, to deflated, and finally to sad. If the scene had been filmed, it’s hard to imagine Sarah Michelle Gellar could have done much better. All in all, a tremendous portrayal.
Xander is rightfully skeptical about Buffy's sudden confession. For years she knew he was available and wanted to be with her (also, he was faithfully devoted to her, never betrayed her and saved her life twice), and yet she always chose someone else: Angel, Spike, Riley, Parker, Satsu. Only now, after so many bad relationships, Buffy finally gets around to Xander, and she does so at the worst possible time! Xander can’t help but wonder if she is only feeling this way because he is now with Dawn (although this isn't the case) or because of her recent lesbian experiment. Anyway, he wins the argument hands down when he points out that what Buffy is doing is wrong because she is essentially asking him to break up with her sister. At that point, Buffy can only concede that he is right and let the issue go.
Whedon’s dialogue here soars. Not only does he manage to hit every dramatic note, but he skillfully mixes in some great humor, such as Xander’s sarcasm: “And now you like me. I made the list.” And again when Xander explains why he has fallen in love with Dawn: “…But she's grown. And shrunk.”
There are other great scenes: Willow trying to battle the giant goddesses and twice getting kicked and sent flying for a mile; Twilight standing over his captives, referring to Giles as Buffy’s “trust”, Faith as her “guilt”, and not being able to recall Andrew’s name (Angel met Andrew briefly twice during Season 5 of Angel - 5.11 Damage and 5.20 The Girl In Question); and Buffy’s conversation with the dying soldier whose regrets about love convince her to tell Xander her true feelings.
The ending is also great when Buffy reveals her new superpowers to her friends, and their reactions are priceless. It’s fun to see Buffy turn into Superman as she disposes of the three giant goddesses.
Finally, the alternate cover for this issue is one of the best of Season Eight. It is drawn to look like an old romance comic from the 1950s.
Being a huge fan of the Buffy/Xander relationship over the years, I probably enjoyed this issue more than most. This is another story in which the more I think about it, the more I love it, so I’m going to give it top honors.
A reference to Kitty Pryde of the X-Men.
Twilight, Part One
Issue #32
Written by Brad Meltzer
To read a detailed summary of this issue, click here.
COMMENTS: This issue is another gem, especially in the beginning when Xander is testing Buffy’s powers. The Superman references are abundant, and they’re a lot of fun. Xander fires a gun, and Buffy (after giving the bullet a head start) is able to chase the bullet down and catch it. Of course, Superman is famous for being faster than a speeding bullet.
There are also some classic Superman quotes. Xander jumps into Buffy’s arms, and as she starts to fly, he says, “You’ve got me? Who’s got you?” This is a line spoken by Lois Lane in the original 1978 Superman Movie. Later, when Buffy tracks down Amy, and Warren, and the army general, she says, “General, would you care to step outside?” This is a line spoken by Superman to General Zod in Superman II. Buffy even hovers in front of them with her arms folded in the same manner that Superman did, and it’s a great nod to the original scene. There is also a reference to Wonder Woman when Willow says she heard Andrew was drawing a magic lasso (Wonder Woman uses a magic lasso to make people tell the truth).
When Xander asks Buffy, “Can you phase?”, it is a subtle reference to Kitty Pryde (Shadowcat) of the X-Men who has the power to phase through solid objects. Joss Whedon has said that the Buffy character is partly based on Kitty Pryde, so the nod is wonderfully appropriate. According to Buffy editor Scott Allie, when Buffy says she doesn't see the appeal of phasing, it is meant as a joke on Joss Whedon and his very public love of Kitty Pryde. Buffy could be interpreted as saying, "Why is my whole life built around the X-Men?"
Things get serious at the end when Willow tells Buffy that she has absorbed the power from every Slayer who dies, although Buffy’s horror seems a bit misplaced. More on that next issue.
There is another interesting scene near the beginning when Dawn is fretting over Buffy’s new powers, concerned that they will come at a heavy price. Willow questions if that is really the issue, or if Dawn’s worrying is about something else. Willow says, “…but right now, Xander has Buffy. In fact, you sure that’s not the real problem?” We then cut to an image of Xander and Buffy standing close together looking eye to eye, and the image looks like a romantic moment (even though it isn’t). Buffy is reading Xander’s mind, and he is apparently thinking sexual thoughts (of exactly what, we aren’t told). It’s just enough to make one suspect that a potential Buffy/Xander romance may still be in the works. Given Whedon’s habit of planning storylines years in advance (and planting clues along the way), you can’t help but wonder.
During the same scene, there is a moment when Willow sort of breaks the fourth wall when she says that “every month – every Wednesday – it doesn’t have to be the end of the world.” Of course, the Buffy comic is always released on a Wednesday.
Similar references were occasionally made on the television series. There are several episodes where Buffy says, “It must be Tuesday” or “Another Tuesday night in Sunnydale” or something along those lines (one such episode is 6.7 Once More With Feeling). As longtime fans are aware, Buffy aired on Tuesday nights beginning from the middle of Season Two.
Finally, the alternate cover is a cool homage to Action Comics #1 from June 1938 with Buffy holding up a train in a Superman-like pose, and there is a man in the foreground who looks an awful lot like Joss Whedon.
Twilight is... Barack Obama???
Twilight, Part Two
Issue #33
Written by Brad Meltzer
To read a detailed summary of this issue, click here.
COMMENTS: This is it. The single best issue of Season Eight. Twilight is finally revealed to be Angel, and it’s about as shocking as anything that happened during the seven seasons of the television series.
Everything unfolds really well, particularly Faith’s futile attempt to attack Twilight. She says, “You’re dead.” He answers, “You’re right.” Of course, she is right in the sense that he is a vampire.
And then there is Andrew’s attempted assault, wearing a costume that is a juxtaposition of about five different characters: Captain America, Iron Man, Punisher, Batman, and Luke Skywalker. He says, “It’s clobberin’ time,” quoting the Thing from the Fantastic Four.
When Buffy first attacks Twilight, there is a cool reference to the popular Twilight movies which also feature a male vampire in love with a human girl. Referring to Twilight’s name, Buffy says, “Y’know I lived that idea first, right? And my vampire was so much better.” And then Twilight removes his mask, and she discovers that it is her vampire.
Angel’s dialogue is really well written. He gives an explanation that doesn’t really explain anything, cryptic in an interesting way that tells readers just enough to make them hungry for the next issue. When Buffy kisses Angel at the end, one gets the impression that she is under the influence of some other force (just like Angel is). Unfortunately, the follow-up explanations in later issues are murky and difficult to understand.
There are also three great panels spread throughout the sequence that have Willow, Xander, and Satsu in each of them. Each time, in response to a sound they hear, Xander says, “What was that?” The first time, Willow answers, “I think they’re fighting.” The second time, she answers, “I think they’re talking.” The third time (in what is the last panel of the story), she answers, “I think they’re f#@%ing."
The only weak moment is the beginning scene when Buffy compares herself to a vampire because she’s “sucking” the powers of the dead Slayers. The analogy is pretty weak. Vampires kill people. Buffy doesn’t kill any of the Slayers; she only absorbs their power after they are dead (at which point they no longer need it), and she’s not even doing it intentionally! So why should Buffy feel guilty about this?
There’s another Superman reference when Xander tells Buffy, “You. Are. Here. For. A. Reason… and it’s not just to kick giant boulders.” In the 1978 Superman movie, Clark Kent’s father tells him, “And there’s one thing I do know, son, and that is you are here for a reason. I don’t know whose reason, or whatever the reason is… But I do know one thing. It’s not to score touchdowns.” Ironically, Xander’s clichéd speech manages to cheer Buffy up.
There is a great alternate cover for this issue that is a nod to Amazing Spiderman #289. Dark Horse also released a bogus version of the same cover as a joke which revealed Twilight to be… Barack Obama!
One of the reasons I enjoyed this issue so much is that when I read it I didn’t know Angel was Twilight. Apparently, I was one of the few who didn’t, as Twilight’s true identity was revealed online several months before the issue was released (The Xander/Dawn romance was apparently spoiled as well). Fortunately, I've never been one to read the Buffy online forums.
In the current digital age, it is very difficult to keep things secret, and comic books covers are released several months in advance of publication for sales and marketing purposes. Dark Horse planned to release several phony covers in order to avoid spoiling Twilight’s identity, but the real covers were accidentally released online (one of which shows Angel wearing the Twilight costume without the mask) and efforts to retrieve them before it was too late were unsuccessful.
Fans who were spoiled probably didn’t enjoy this issue as much as I did, but I’m going to rate it based on my own experience, and for me this was hands down the best, most exciting issue of Season Eight.
Twilight, Part Three
Issue #34
Written by Brad Meltzer
To read a detailed summary of this issue, click here.
COMMENTS: It’s been said that the easiest part of a story to write is the set-up, and the hardest part is the payoff. Many stories start out strong only to have poor endings (the most famous example being Return of the Jedi, the final chapter of the original Star Wars trilogy).
Unfortunately, after delivering one of the best build-ups in the history of the Buffy franchise, Season Eight suffers an almost complete meltdown. I've often mentioned that one of the best aspects of Season Eight is the fact that the writers are freed from the constraints of a television show, being able to write stories on a much larger scale than could ever have been done on a television budget. Unfortunately, this is the point where the writers' unlimited freedom finally works against them.
In issue #34, Whedon and company allow the story to fly off the rails as they attempt to give us the Greatest Sex Scene In The History of the Universe, and it is eye-rolling embarrassing. As a Christian, I don’t like it when the entertainment industry chooses to blatantly flaunt sex, and the only way this story could possibly flaunt sex more than it does is if it had been filmed as a porno.
I could stomach this if we were at least given a coherent story. But as I’ve said in the introduction, the Twilight mythology is so utterly confusing that it makes it hard to get emotionally involved in anything that happens. Ultimately, the writers rely on the ultimate dues ex machina (“the universe’s grand plan”). This is lazy writing, and it shows little regard for the readers who have invested so much in the story up to this point.
Furthermore, it’s been long established that Angel can’t have sex with Buffy without achieving perfect happiness and losing his soul. If Angel and Buffy are truly having The Best Sex Ever (and clearly they are), then how could Angel not lose his soul? The writers are cheating here, ignoring what is a sacred screed of the original show, and there’s simply no excuse for it.
I also find it annoying that Buffy would jump Angel so soon after she recently had such strong feelings for Xander. Is Buffy under the influence of Twilight when she starts making out with Angel? I assume so, because it makes no sense otherwise.
There are two other moments worth mentioning. First, Satsu walks away in disgust because of what Buffy and Angel are doing (I can empathize), so it seems she isn’t over Buffy after all. Also, when Xander says,“Angel is Twilight?”, Dawn then says, “Ben is Glory?” This is a reference to episode 5.21 The Weight of the World where the phrase is used. Of course, there’s absolutely no reason for Dawn to say the phrase here, so the writers are just being cute, but it’s a fun moment, nonetheless. Unfortunately, cute gimmicks alone do not make a good story.
Twilight, Part Four
Issue #35
Written by Brad Meltzer
To read a detailed summary of this issue, click here.
COMMENTS: Buffy and Angel apparently have a chance to live in a utopia inside the new universe that's just been created. Angel’s explanations don’t make all that much sense. Ultimately, they decide to ignore the “grand plan” that the universe has for them and return to their world. Does this not make the universe look stupid? Why would it devise a “grand plan” that can be easily blown off? Anyway, the best part, relatively speaking, is the end when Spike makes his grand entrance, but it feels forced, as if the writers are trying too hard to come up with a cool ending rather than create a climax that naturally flows from the story. Given how many great endings and cliffhangers we've had this season, this one just doesn't measure up.
There is one amusing line in which Buffy wonders if this might be a dream and says, “I wanna just make sure we’re not somehow standing here in my mind, or in some dream where I’m the snowglobe at the end of St. Elsewhere.” The first part is a reference to Episode 6.17 Normal Again where Buffy comes to believe that her entire world is just a fantasy and that she is really just a sick girl in a mental institution in Los Angeles (and she may in fact be; We simply don’t know). The second part refers to the television series St. Elsewhere. In the final scene of the final episode, it is revealed that the events of the entire series occurred inside the mind of an autistic boy.
Unfortunately, readers would have to wait four months for the next issue. It’s worth repeating that Season Eight took way too long to finish. Fortunately, Season Nine won’t take nearly as long.
Buffy The Vampire Slayer – Riley: Commitment Through Distance, Virtue Through Sin
Written by Jane Espenson
Brief Summary: In Iowa, Riley Finn and his wife Sam are driving in a pickup truck, debating on whether Riley should work undercover for Buffy. They both travel to an underground missile base where a rocket is on the verge of launching on its own. Riley and Same attempt to defuse it and the rocket’s programmed coordinates show up. Whistler tells Angel that he has to pose as Twilight, that any other route he takes will lead to both his and Buffy’s deaths. He even claims that the Powers That Be are in favor of what Angel is doing.
Riley and Same parachute out of plane and land in the ocean near some islands where the rocket’s coordinates were programmed for. Several rockets explode around one of the islands, and the two travel there and are taken to see Twilight who has an army around him. Riley agrees to join Twilight. As a way of showing his allegiance, he has to allow them to carve Twilight’s symbol on his chest.
To read a detailed summary of this issue, click here.
COMMENTS: This one-shot was released in August 2010, one month before issue #36 came out. This is a flashback story that explains how Riley Finn joins up with Twilight. I haven’t mentioned Riley until now, but he first appears in issue #19 when he meets with Twilight and appears to have turned on Buffy. Later, we learn that he was secretly working for Buffy undercover.
The Riley/Sam scenes aren’t that interesting, but there is one particularly good moment where Riley says that she is only supporting him in this so that he will have to do the same for her the next time an important mission comes up. Sam has no answer because she knows deep down that he is right.
By far, the best parts involve Whistler (last seen at the end of Season Two) talking to Angel who is having regrets about becoming Twilight. Longtime fans will recall that Whistler is the one who recruited Angel to aid Buffy in the first place.
Whistler says that if Angel takes any other path than the one he is on, then both he and Buffy will die. Whistler even claims that The Powers That Be (the forces of good that provided guidance for Angel during his years in Los Angeles) want him to be Twilight.
I don’t buy that TPTB would be in Twilight’s corner. I think it’s more likely that Whistler is lying to Angel. Early hints from Season Nine so far indicate this may in fact be the case.
It is also mentioned that Angel “bought an army.” Are most of the soldiers paid mercenaries? That would certainly be more believable than Twilight commandeering the U.S. military.
Whistler has a cool line when he says, “Torture the former cheerleader, save the world.” This is a nod to the Heroes
television series. Throughout the first season, various characters receive the message: Save the cheerleader, save the world.
There is one absurd moment, when Sam and Riley have entered Twilight’s island base and are on their way to meet him. During this time, they continue talking about Riley aiding Buffy! Wouldn’t they think it likely that their conversation might be overheard? It’s very sloppy writing.
Karl Moline’s artwork is a delight as always, but in the end this story is little more than a fill-in-the blanks exercise, and there’s very little substance to it.
Last Gleaming, Part One
Issue #36
Written by Joss Whedon
To read a detailed summary of this issue, click here.
COMMENTS: Spike’s return is a big letdown. He shows up in a spaceship that is piloted by giant alien bugs, which is a little too far off the charts in my view. Even worse, we aren’t given any explanation as to how he got this ship. I believe there was another comic by IDW which tells this story, but I shouldn’t have to buy another comic to get information that is fairly important to the story I’m currently reading.
I always imagined that when Buffy and Spike were finally reunited, she would punch him in the jaw for not telling her that he had been alive for so long. And how did Buffy know he was alive? I suppose Andrew must have told her, but Spike had explicitly told him not to (in the Angel episode 5.11 Damage).
More interesting is the flashback in the beginning that shows how Angel was first approached by the Twilight force. Angel is given power as a “reward”, but there are strings attached, and power ultimately comes at a huge price. The flashbacks with Spike are also good, but we still don’t learn how he got his spaceship, how he learned all the crucial information he shares with
Buffy about the Seed of Wonder, or why he waited so long to seek her out. Unfortunately, there isn’t much substance to any of the scenes that involve Spike. It feels like the character is simply being used as a plot device to get Buffy to go after the Seed. His presence hardly seems integral to the story.
The return of the Master is also a disappointment. It was bad enough that they brought back Warren, but now the Master? The writers run the risk of making death look like a joke (something that happened on Xena), and this will only hurt future stories.
There is one amusing bit where Willow accidentally turns Angel into a frog. Also, this issue has a great alternate cover featuring Buffy, Angel, and Spike that is obviously patterned after the Twilight: New Moon film poster. But, otherwise, it’s a letdown overall.
Last Gleaming, Part Two
Issue #37
Written by Joss Whedon
To read a detailed summary of this issue, click here.
COMMENTS: Buffy and the gang return to Sunnydale, or the big hole that was Sunnydale, for the final showdown. There is a scene aboard the spaceship where Buffy fantasizes about having sex with Spike. Didn’t she just tell Angel that he has her heart and that she could spend the rest of her life with him after what just happened? Not long after, she flies off the ship with Spike hanging onto her waist, and she’s annoyed that Spike is touching her butt. Can we please have some consistency here?
Willow discovers that destroying the seed will end magic, and she tells Buffy that they have to protect it. But why exactly do Twilight and the other demons want the seed? It’s all pretty confusing. Perhaps if I studied the story harder or researched the internet I might get the answers to these questions, but I just don’t feel like it’s worth the effort. Basic plot points
shouldn’t be hard to learn.
In the final scene, Angel is approached by Twilight, the winged-lion that appeared in Buffy’s dream in issue #6.
Issue #37
Written by Joss Whedon
To read a detailed summary of this issue, click here.
COMMENTS: Buffy and the gang return to Sunnydale, or the big hole that was Sunnydale, for the final showdown. There is a scene aboard the spaceship where Buffy fantasizes about having sex with Spike. Didn’t she just tell Angel that he has her heart and that she could spend the rest of her life with him after what just happened? Not long after, she flies off the ship with Spike hanging onto her waist, and she’s annoyed that Spike is touching her butt. Can we please have some consistency here?
Willow discovers that destroying the seed will end magic, and she tells Buffy that they have to protect it. But why exactly do Twilight and the other demons want the seed? It’s all pretty confusing. Perhaps if I studied the story harder or researched the internet I might get the answers to these questions, but I just don’t feel like it’s worth the effort. Basic plot points
shouldn’t be hard to learn.
In the final scene, Angel is approached by Twilight, the winged-lion that appeared in Buffy’s dream in issue #6.
Last Gleaming, Part Three
Issue #38
Written by Joss Whedon
To read a detailed summary of this issue, click here.
COMMENTS: The battle gets a little better here, and the wounding of Dawn has to make readers suspect she might die, thanks to Joss Whedon’s history of killing off relatively major characters on the show. This has paid dividends over the years.
The Twilight mythology is still a muddle. Twilight is angry that Buffy and Angel abandoned the new world they created, but why? What does Twilight need them for? What exactly does Twilight want?
When the American soldier says that the U.S. military is no longer working with the demons because the demons’ methods “don’t fit with the United States’ agenda in this conflict,” I suspect this is a sop that Whedon specifically threw to me because of my letter in issue #5 complaining about the negative portrayal of the U.S. government. If this is the case, thanks, Joss!
The possessed Angel arriving at the end makes for a decent cliffhanger, and we’ve finally almost reached the end of the line. (Thank goodness…)
Last Gleaming, Part Four
Issue #39
Written by Joss Whedon
To read a detailed summary of this issue, click here.
COMMENTS: The end of magic in our world and the death of Giles are the two things that make this issue (somewhat) special. As I mentioned in the introduction, the character had pretty much become expendable at this point, so if someone had to go, he was probably the best one.
If there is one overriding theme of the Twilight arc (and I’m amazed I was able to come up with one given how confusing it’s been), it could be the idea that power corrupts. One one level, there is inherent danger in both magic and the slayer line, because we’ve seen witches like Amy and Willow as well as slayers like Simone Douffler use their power for evil purposes. By
bringing an end to the age of magic and the multiple slayer line, Buffy has surely removed a lot of danger from the world.
On another level, there’s the idea that selling your soul for power (which is essentially what Angel did) is wrong even if done for the right reasons, even if your goal is to help others. Angel wanted to protect Buffy, and he thought becoming Twilight was the only chance he had to save her. Maybe this was true, but maybe not. Perhaps Twilight lied to him about that. It certainly didn’t tell him the truth about everything he was in store for when he signed up. It is revealed in Season Nine that Angel did not always have total control over himself, and he can’t remember a lot of what he did.
But even if it Angel’s actions did save Buffy’s life, was there no price too high? The Twilight force resulted in earthquakes, tornadoes, and numerous demon hordes unleashed upon the earth. You have to assume that hundreds if not thousands of people were killed in the resulting disaster (although the writers never bother to get into any of this). One could easily argue that the price paid for saving Buffy’s life wasn’t worth the ultimate cost.
I suppose it’s possible that the writers had some of these themes in mind, but I doubt it. Considering how ill-thought out the details were of the whole Twilight mythology, it’s unlikely that any of these themes were consciously created, so I may be making something out of nothing.
Because Angel has killed Giles (he also murdered Giles’ girlfriend, Jenny Calendar, and in the same manner – by breaking her neck), it will be a long, long time before Buffy can possibly be with him again – if ever. The ramifications of what Angel has done will surely be enormous.
Unfortunately, the larger battle between the Slayer army, the demons, and the U.S. military is presented as a jumble of images lacking any sense of flow or storyline. As a result, it's not particularly interesting no matter how big and flashy Whedon tries to make it.
The smaller battle between Buffy and Angel is much better. One of the highlights is when Angel kills the Master, and Buffy says, “Go, Angel!” She then kicks him, saying, “Also, take that!”
The final moments are also strong when Angel snaps Giles’ neck and we see Buffy’s horror, then her explosive fury as she attacks Angel. Then she uses the scythe to destroy the Seed of Wonder, which brings an end to all magic and sends the invading demons back to whatever universe they originally came from. The image of Buffy lying on the ground shaking afterwards was seen in issue #10 when Buffy is shown a glimpse of the future, and this shows that at least some aspects of the Twilight arc were well thought out in advance.
Also, the scythe is destroyed, which is a bit of a surprise since I always assumed that Fray's scythe was the same as Buffy's. Hopefully, the writers will either find a way to repair it or show us where Fray's scythe originated from.
There is one weird moment when Buffy separates Spike and Angel and says, “I liked it better when you were kissing.” Spike replies, “I’m fairly certain I never mentioned…” Of course, longtime fans remember that Spike once implied (in Angel episode 5.21 Power Play) that he and Angel slept together one time, but how would Buffy know about this? Or is she simply referring to issue #3 when she fantasizes about having a threesome with the two of them? And am I the only one who finds this Angel/Spike angle stupid and dumb?
The cover art for issue #40
Last Gleaming, Part Five
Issue #40
Written by Joss Whedon
To read a detailed summary of this issue, click here.
COMMENTS: The final issue of Season Eight turns out to be another disappointment. The tone of the story feels all wrong. Given how dangerous and corruptive magic has been shown to be over the course of the series, the end of magic should be seen as the dawning of a golden era, and yet it’s portrayed as a negative (although it’s understandable why Willow would see it that way).
It simply isn’t believable that all the Slayers would turn against Buffy after the battle. They probably would have all been killed if Buffy hadn’t destroyed the Seed (although Kennedy stupidly seems to believe otherwise).
Another surprise is that Giles has left his entire fortune to Faith and nothing to Buffy. Hopefully, there will be a good explanation later telling us why he did this.
Also, Willow has broken up with Kennedy and claims that there is another whom she truly loves but will never see again. Obviously, she is referring to Aluwyn, the green serpent-like lady demon (Willow called out Aluwyn’s name in despair last issue when her magic was lost). Needless to say, this is one subplot I’m not particularly interested in.
The best parts of this issue are the spectacular cover art by Jo Chen which is patterned after the cover of issue #1, as well as the final page with Buffy leaping forward to attack a vampire and saying, “Let’s get to work.” (This was also Angel’s final line in the final scene of the Angel television series.)
Anyway, Buffy is now living in San Francisco which will be the setting for Season Nine. Joss Whedon says he plans to bring the story back down to earth, and if this prevents him from devising any more Twilight-like universal “grand scheme” story arcs, then it should be a good thing.