shadowkat: (chesire cat)
Have a bit of a scratchy sore throat this afternoon/evening - brought on, I suspect, by my archiving of old files today. I'm allergic to dust and mold spores - specifically the type that attach themselves to musty old files and books, hence the reason I currently avoide library books and used book stores like the plague. Methinks I may love the kindle, when I get around to affording it. Fall, also, not my best season.

Buffy comics - not interesting, skippable )

Unpopular fandom opinions and livejournal skirmishes and getting one's post or rather my post linked to.

linking to posts and dealing with the occassional fallout or whinging of a frustrated lj writer )

Regarding unpopular fandom memes. I can think of a lot of unpopular opinions that are well unpopular with half of my flist. Came up with 25, believe it or not.

warning these are meant to be unpopular and as such are bound to annoy someone )
shadowkat: (Default)
Rather slow and draggy day. Looking forward to taking off next weekend to the poconos to visit my aunts, who are rather fun. And I haven't seen or spent much time with since I was a small child and they were teenagers. It's all so very nostalagic in a way. Also attempting to draw and then do watercolors from recent photos taken of my neice. We shall see if I can do it. Haven't watercolored or drawn anything seriously for about five years. A bit on the rusty side.

Read a few posts on Spuffy, and the ambivalence many people felt towards BTVS's or canon's depiction of the Spuffy or Buffy/Spike relationship. Maybe ambivalence isn't quite the right word? At any rate they were comparing the relationship to one that I was really ambivalent about: Cordelia/Angel. Can't say I disliked them, so much as I was mildly curious and sort of ambivalent. I watched Ats for Wesley, Illyria/Fred, Lilah, sometimes Gunn (in S5 definitely Gunn), Lorne, Drusilla, Darla, and the Spike/Angel relationship. All of which I'm still getting with the possible exception of Wes, Darla and Lilah in the comic books. So, yay, me. I wasn't ambivalent towards Buffy/Spike. It remains amongst my favorite television couplings. For a lot of reasons. That said, I remain unsatisfied in how it was resolved or the fact that the writer seems to want to drag out the non-resolution for forever and a day in the comic books. Oh, I know full well what the writer's intent was - but it left me unsatisfied, in much the same way that ATS and the Spike/Angel relationship left me unsatisfied. It was as if both were left sort of up in the air. Brian Lynch - has actually to a degree resolved the S/A relationship to my satisfaction - they exchanged ring-tones at the end of Angel After the Fall and more or less acted like the Sam and Dean of the Whedonverse (except unrelated). Brothers in blood if not by biology. Acknowledging each other's strengths and weaknesses and moving past their rivaleries. Whedon, unlike Lynch, hasn't satisfied me on any of his characters relationships...which is rather aggravating. My tolerance for being teased is only going to last so long before I give up and move on to greener pastures (ie. fanfic - wait, already there.)
Read more... )
shadowkat: (Default)
[BEFORE READING AND COMMENTING ON THE BELOW:Please note the following is meant to be an objective gathering and explanation of facts - I'm not stating that what happened in the Roman Polanski case was not rape or the facts as I read them on the salon article and in blogs are not true - if they are? He is a douchebag, but then I always thought Polanski was a douchebag - I've seen his films, Repulsion, Rosemary's Baby and The Tenant - all make one want to squirm in their seat forever and a day. Also up until recently, I thought the reason he left the US was he was having sexual relations with then 15 year old Natassha Kiniski the star of his film, Tess of the D'Urbvilles. Polanski also is not the first person to flee for this - Charlie Chaplin did, as did Fatty Urbunkle, I believe.( But as to what actually happened in this case? Truth is I have no idea, all I know is what a lot of bloggers and op-ed commentators have stated or reported based on testimony that they've cobbled from sources or links on the internet, and I know enough to trust internet cites, including one's I've linked to, twitterers, bloggers and op-ed journalists about as far as I can throw a 300 pound gorilla, which is not that far. That again is not to say that they are not correct and this is not true. But keep in mind it happened over 30 years ago, the testimony is 30 years old, and only the people who were actually there know for certain, and the prosecutor has gone on record as to having lied about it to make his case winnable (ETA: apparently even that bit is not clear, since that prosecutor apparently lied about being involved with the case and it was a completely different prosecutor - sigh we really do live in the age of misinformation, don't we?). This means we can't know for certain what happened, we can only speculate.) Nor am I condoning Whoopie Goldberg's statement listed below, I am providing an objective explanation. So if you disagree - please do not shoot the messenger. I am just imparting information. I am giving you the information that I've discovered to provide a complete picture. Information that may or may not be true. The veracity of any of this seems to still be in question. Again please do not misunderstand any of the below to be condoning the drugging and as a direct result coercion of a young girl to have sex, I don't care if she was 13 or 54 - that is rape. By the way, if she was under 10 - it would not have been statutory rape or rape, it would have been child molestation and pedophilia which has a completely different set of laws and a far harsher set of penalities. The bit on Age of Consent in California - gives the penalities for statutory rape in the state of California. ]

The papers have been agog with the Roman Polanski issue. Spoke to a reluctant mother about it over the phone - she told me that according to the news they will probably have to dismiss the case for two reasons: 1)the prosecutor lied to the judge in the initial case causing the plea bargain to be dropped and Polanski to flee and 2) besides spending 42 days in prison, Polanski paid the victim years ago, quite a bit of money as the result of a civil suit regarding the action.

links on the settlement and the prosecutor lying )

difference between statutory rape and rape and Whoopie's Quote )

What did Whoopie mean by her it is not rape-rape comment, defining statutory rape or why Angel in Buffy the Vampire Slayer would be convicted of rape under California Law )

California Statute on Statutory Rape )
why consent is not a factor in statutory rape cases )

why Whoopie's statement was a major faux paus and rape statistics )
shadowkat: (Default)
To reward myself for surviving the work week - which entailed amongst other things, several difficult meetings, negotiations, and putting out fires - it also entailed a difficult personal trainer session - he had me stand on this air ball and lift weights at the same time, considering I have troubles walking and chewing gum at the same time - this was a challenge, but I digress... I bought the second issue of the two part Dru comic.

I loved this comic, but I won't be the least bit surprised if I was amongst the few that did.
It is not a plot heavy comic, actually the plot that is there is fairly simplistic - the comic is a character sketch. It is in a way an actor's exercise - a method actor's. Let me explain, because unless you've taken a course in method acting - you'll have no idea what I am talking about. My high school theater professor, Max Brown, was a method fanatic. If you want to know what he was like? Just listen to James Marsters Q&A's on acting - they say almost the same things. When I listen to Marsters, I hear my high school theater teacher. Uta Hagen and Stanislaski were Max Brown's idols. We spent entire classes doing method acting exercises. At any rate - whenever we got a role, regardless of the role, Max would ask us to write an entire back story for the character. Imagine our lives as this character. Find an emotional pain in our past to build into that character. I remember writing twenty pages on
Sally Cato in Auntie Mame, who she was, what she did, what she liked and thirty on Tituba in The Crucible (another role that I played - and yes, I went to an all-white high school, depressing but true). The exercises made me a better writer, if not a better actress.

This two part Drusilla comic reminds me a great deal of those acting exercises. What Lynch and Juliet Landau have done is write about what lies inside Drusilla's head, what makes Dru tick. The plot is that Dru has entered a sanatorium or insane asylum, at the same time that WRH has more or less sent LA to Hell to punish Angel. We aren't really told why she's at the asylum - because Dru herself doesn't know why. We are almost completely inside Drusilla's head. We do not know anything that Dru herself does not know. And the sanitorium and people inside it to a degree serve as a metaphor for Dru's own state of mind, her own hell - which is well her mind.

This quote at the very end of the issue sums of it's themes, intent, and purpose:

Do I believe in Actual Hell. One's own mind is actual enough. - C.S Lewis (1898-1963)
Review of Dru Comic...or why I enjoyed it and how I perceived it )
shadowkat: (Default)
Apparently, I'm the only one who couldn't access Lj at all from Friday night until about 10 pm today? Okay, admittedly I wasn't on it from 1:30pm to roughly 8:30pm. Went to see Harry Potter and the Half-Blood Prince.

Just came back from seeing Harry Potter and the Half-Blood Prince which was as enjoyable, possibly even more enjoyable than the book. I laughed a lot during both, not during the dark parts of course. My sense of humor may be dark but it is not that dark. I remembered the book well enough to follow the film without any difficulty whatsoever, but not well enough to notice how the film veered away from it. I was, in other words, blissfully oblivious of some of the complaints others online had regarding it. This re-affirms my belief that these films work better if you have not reread or read the novels recently.

Also enjoyed the trailers. 2012 looks like a lot of fun. Sherlock Holmes made me laugh quite a bit. Sure it looks hokey as all get out, but also a lot of fun. Was told that it has gotten abysmal reviews, but Robert Downey Jr is one of those actors that I will watch read the telephone book. I'll probably rent it and not wast time or money seeing it in the theater.

Picked up comics on Friday - enjoyed the Buffy and the Drusilla one. Juliet Landau, Brian Lynch, and Frank Urru have combined forces to create a two issue Drusilla After the Fall comic in the Angel series. Sure it is called Angel, but Angel doesn't appear in it. All Drusilla. And the art is quite lovely. The writing, spot on, and it may be the best comic I've read in a while. Lynch, hate to say this, is still putting the Buffy writers to shame - possibly because he was a fan of the tv series and like most fans, has an encyclopedic/anal retentive memory regarding it? While the original writers of the tv series, seem to have forgotten quite a bit. Landau also had a hand in the story, she not only came up with the idea, she also co-wrote the script and provided Urru with ideas regarding how it should be drawn - so we are literally seeing Dru and Dru's world through the actress who portrayed her, eyes. This provides a bit of support to my view that you can't technically count the comics as canon - since you lack the actor's pov. The actors like it or not, do bring something to the enterprise.

The art in the Dru comic in my opinion is a lot better than the art in the Buffy comics. The people are easier to tell apart for one thing, and their facial reactions are more defined. Also there's a depth and perspective to Urru's paintings that is lacking in Jeanty's. Urru is more of a realistic painter, his pictures feel more filmlike or three dimensional. As an artist, I find myself admiring his work, while Jeanty's feels at times amateurish to me. It's a subjective view - I know and based on my own background in painting and art, which granted is not extensive but...is there all the same. The color scheme is alos quite brilliant, all grays, except for a spot of color here and there - Dru's blue outfit and the blue dress she takes from the woman she kills, and Dru's demon eyes and blue eyes. We are clearly in Dru's pov.
Drusilla Comic in Angel Issue #24 )
shadowkat: (Default)
Circa 2002. My attempt to figure out the soul metaphor in the BTVS and ATS series.

Soul Metaphors in BTVS and ATS - only up to S6 BTVS and S3 ATS )
shadowkat: (Default)
The title of this post is taken from a film entitled Men Don't Leave starring Jessica Lang, the film is about a single mother with two sons coping with the death of her husband. The film's title is meant to be taken ironically. Because of course men do leave. It is also to a degree a comment the mother makes to her sons - don't leave me, men don't leave.

This meta was inspired by a comment made in a post/essay by [livejournal.com profile] bilixi (at least I think it is bilixi) about how men keep leaving Buffy, and why the character of Spike seemed to stay by her side. In addition, I just finished watching the Buffy episodes Family and Fool for Love, along with the Angel episode Darla. All three episodes deal with the theme of paternalism as well as the somewhat contradictory theme of men leaving their wives, mothers, daughters and girlfriends - but from different points of view and in different ways.

One of things I love most about BTVS is the dramatic and thematic use of irony. We live in a paternalistic society - yet, as mentioned above, men abandon women. They do not always have a choice - we all die after all, as Spike does in Buffy S7, and as the father does in the film Men Don't Leave.

Starting chronically with Angel and ending with Spike, the meta below is meant to examine these themes and how they relate to both the characters and the series as whole, or at least up to this point.

Angel- references the episodes  )

Riley )

Spike )

[ETA: the above has been significantly edited since I posted it this morning.]
shadowkat: (find your sale)
Is there room to tell a story in more than one way - a more internal way?

Martin Scorsese from the documentary Scorsese on Scorsese.

I've always written structured stories, plot focused tales. In the seasons before this one,
we had a clear plot arc. But here, this season was more chaotic. More anarchic. We were telling a lot of standalone tales that focused on our characters. The main plot arc - the Initiative and Adam was really in the background, not the true focus. That's why we chose not to end the season with the battle at the Initiative, which many fans expected and wanted. Instead we chose to do something I never done before nor have really done since - which is write an sort of coda that focused purely on the characters and addressed their arcs over the course of the season. In some respects, our best episodes were done this season - because we chose to move away from the tight plotting and focus more on the characters.


[paraphrased and by memory] quote from Joss Whedon's interview in his commentary on The Overview of Season 4 and commentary from Restless.

Of all the seasons of Buffy the Vampire Slayer - Season 4 may be the most experimental. In some respects it was also the season that television critics took notice. Prior to this season, many felt that Buffy was really just a show for teen girls. It was not until Season 4 that Buffy got nominated for an emmy - with HUSH, or that the HUGO's took notice. The story for the first time veered away from the high school metaphors and the angsty gothic romance trope which is currently being replayed almost to death by Stephanie Meyer's Twilight Saga,
Tru Blood, Moonlight (okay not current), Laurell K. Hamilton's novels, and countless others - it was by no means new when Whedon did it with Angel/Buffy, and it's not new now. Although Whedon did put a horrific twist on it that has yet to be copied, and he did in some respects put an end to it in Season 4, moving on with his tale. I mention the Buffy/Angel relationship because it is the reason a lot of fans disliked Season 4. It's not the only reason. Season 4 is not formulaic tv. It did not follow the pattern fans had become accostumed to. The big bad sat mostly in the background, seldom used. The gang did not solve a mystery each week and fight bad guys. Buffy had a romance, but it wasn't quite as hot or angsty as with Angel nor was it front and center. And the plot unlike most tv series of this type was not the main point.

The tale in some respects was a more internal as opposed to external one - another thing that fans of action adventure/science fiction tales may not be used to. Plus the characters were less comfortably together. At times, in fact they seemed to be on the point of breaking apart.
Evil and good became blurry. The metaphors mixed. And if you shipped a specific character or relationship in later seasons, especially Spike and/or Spike/Buffy, or hated Riley - this season may have bugged you. At least these are the critiques I've read over the years since the season aired way back in 1999-2000. And I admit when I first watched the season, I remember being a bit frustrated with it and confused. Now, years later, rewatching it, I find myself fascinated and impressed by what the writers/actors/directors and producers managed to accomplish in a difficult and fast medium. It may in fact be one of the most brilliant seasons to ever air on tv, it is certainly amongst the riskiest and experimental. It also, I believe influenced others.

I mention Martin Scorsese above - because a)I was watching a doc on him tonight and b) his quote fit I thought what Whedon was trying to do.
meta on Buffy S4, specifically all the characters journey's throughout that season. And how those journey's support specific themes. )

Ugh, up too late again, to bed. And hopefully to sleep.
shadowkat: (writing)
Before I started writing this post, I googled the words "I Will Always Remember You" and found the following links to songs, each is a romantic tune that is somewhat wistful about someone who is long gone.

http://www.lyricszoo.com/sarah-mclachlan/i-will-remember-you/

http://www.youtube.com/watch?v=7_zpVly8vVU

http://www.metrolyrics.com/ill-remember-you-lyrics-atlantic-starr.html

Do you remember your first love? A few, very few, people marry their first loves. My brother married his, and my mother married hers. But most of us -- don't or if we do, it ends in divorce, because once the wild passion ends there is little else. In the case of my parents and my brother - it was not "wild passion" so much as friendship that built into something more over time. They did not hop into bed or do wild makeout sessions at the start, they had discussions well into the night. It was in short not the stuff of novels - which seldom end well and often focus on those wild romances. Why do the wild and intense romances not last? The writers of Buffy and Angel examine those reasons in detail.

I Will Always Remember You ("Remember You") - the eighth episode of Angel the Series is not an episode that can be watched by itself. It needs to be seen in context of both series. And it is an ironic and somewhat dark episode in retrospect, not to mention deeply tragic. It comments on the choices we make for good or ill. Complex episode when seen in context.
rather lengthy meta on the Buffy/Angel relationship and lost love, as well as being a hero as seen through the first eight episodes of Angel S1 and the first eight episodes of Buffy S4 )
shadowkat: (writing)
[Found a rather interesting essay on Dollhouse here:

http://tigerbeatdown.blogspot.com/2009/04/dollhouse-joss-whedon-and-strange-and.html

It's different than most of the stuff - I've read recently and in some respects a breath of fresh air. (It's an essay from a feminist who loves Dollhouse and is not fond of Buffy.)

Also, as an aside, does anyone know where I can see a repeat of tonight's House - not online, but on tv? I know it will be repeated, but forget when and where.

Another bit - I know I've said this before, but bears repeating, I think people forget that Joss Whedon is a 'horror' writer, specifically psychological horror. True horror, not the comfy Stephen King variety, but true classic psychological horror makes you cringe and squirm and keeps you awake giving you nightmares. It's not nice. It's not meant to be. It's meant to be skeevy and squicky. Whedon not only writes horror, he studied it in school, analyzed it, and is a critic of it.

ETA: the below essay has been edited to incorporate moscow-watcher's comment below.]

The following essay came out of a somewhat heated discussion with a poster several posts below...and has been skirting about in my brain most of the day.

Not sure how many people reading this journal are fiction writers? If you are, regardless of the fiction, you probably at one point or another fell in love with a specific theme or plot idea and ended up writing yourself into a corner that you could not get out of because of it. Sure it was a brilliant idea at the time. But now, dang it, you are stuck. And your options are limited. You can either give up on the fic entirely. Continue with it and see if you can write your way out of it. Go with the flow so to speak. Or take an easy way out and either retcon or do some sort of reset button.

In 1997, Joss Whedon created a show entitled Buffy the Vampire Slayer. He had etched out about thirteen episodes - that would tie up all the plot threads for the first season, because he did not believe it would get renewed. The series was a mid-season replacement and had gotten derisive industry buzz because of the movie that preceeded it and bombed, financially. Originally, Angel was supposed to die the first season, but Whedon changed his mind and realized that it would be too complicated to pull off. When the series got renewed for a second season, surprise, surprise - Whedon and Greenwalt came up with a twenty-two episode plot arc - culminating in Angel's death by Buffy, the heroine's hands.

Buffy the Vampire Slayer was his first television series and a chance to redo the movie that had bombed, right. The story was to take place in high school - and to be marketed mainly at teen girls. The central metaphor was high school is hell - he envisioned it as a hip horror series featuring a young girl as the heroine. And the demons were metaphors for the horrors of highschool and teen life - the horrors teens fear, and must slay to reach adulthood.

spoilers for Angel and Buffy )
shadowkat: (tv)
Saw this week's Dollhouse - can't remember what it was called, or the episode number.
By the way this is not a critical review of the episode and will most likely have typos as all my posts do.

In this week's Dollhouse they examined relationships, or rather how we tend to project ourselves onto others, often without realizing it. Specifically the relationship between mother and son, and friends.

Friday Dollhouse Spoilers - Imaginary Playmates and Imaginary Sons )
shadowkat: (Default)
A while back, can't remember when exactly, I watched an old interview with Audrey Hepburn during the interview she said a lot of things, but the statement that stuck with me was this:

"When you are young you want wild passionate love, where you can't stop thinking about the other person, you become lost in them, and you fight and have wild love at night...but it gets tiring. You can't sustain it. After a while...you find you are just tired. Later, when I got much older...I realized that I didn't want that. I wanted someone I could just sip tea with, talk to, sleep with, go on walks, who was a companion, and we didn't necessarily have sex all the time, but we loved and it was deeper and lasted longer." I wish I could remember her exact words.

Been rewatching Buffy the Vampire Slayer, S1-S3 at the moment, and have just completed the first five episodes of Season 3. What I've become struck by this go around, which I didn't really notice before, no idea why - is the deft critique of romantic love and in particular the gothic romance trope, with all of its horrific consequences. Joss Whedon and his writing team are deft satirists of the horror and in particular gothic horror/gothic romance tradition. Not surprising, considering the name of the series is Buffy the Vampire Slayer - that alone, just screams satire.

There's a great line in the fourth episode of S3, the episode in which Angel returns from hell, entitled Beauty and the Beasts:

"It's okay to get lost in love. There's nothing wrong with that. But sooner or later you have to get un lost, see what is going on around you and take part in it. Because if you stay lost...then love becomes your master, and you - its dog."
spoilers for BTVS, mostly just S1-S3, first six episodes or thereabouts )
shadowkat: (strive)
That may not be the best title in the universe and to be honest, I've no clue what to call this post. But after reading several rather interesting reviews of Buffy S8 on live journal, specifically [livejournal.com profile] stormwreath's review and the ensuing discussion, as well as posts in [livejournal.com profile] londonkds, and [livejournal.com profile] aycheb - I decided to write about what I think may be going in these comics and why I think Whedon is writing them and what he is trying to discuss through them.

Before I do so, want to clarify a few things:

Assorted caveats that loosely pertain to any discussion of this )

Buffy S8

First off, if you have not read the comics, you are not going to be able to follow this. Well, you could, but you might get confused. Needless to say, spoilers for the comics and the series up to and including Buffy S8 issue 22, Swell.

Buffy's Leadership Approach )

Is There Such a Thing as a Good Robbery? )

Harmony vs. Buffy - A Woman's Role in Society )
The Attack of the Vampire Kitties )

Buffy, the Vampires, and the Frayverse - the endgame )

Okay this is incredibly long. If you made it to the end, kudos! And it took me far too long to write it. Off to take a much needed walk.
shadowkat: (go ahead make my day)
Well, I've given up on Fringe and deleted all the saved episodes from the old DVR tonight to free up space for stuff that will be taped while I'm away. Taking off from Dec 19th to Dec 27th, weather and airlines permitting. There's a storm coming in on Friday, yes, another one, but I'm thinking I'll be okay.

It's funny - they've cancelled five shows I find interesting enough to watch live, and kept three shows that I merely saved to the DVR and have yet to get to. Granted how long these three will last is up in the air, but still.

(The three are Life, Sancturary and the recently deleted Fringe. This does not include the numerous tv shows I don't even bother with or consider unwatchable - I'm looking at you Private Practice and Knight Rider. Or the one's I found mildly entertaining last year and gave up on this year - Samatha Who, 30 Rock, and The Office - this happens alot with sitcoms, I find them mildly amusing even hilarious for about five or six episodes, and then incredibly repetitive and mildly offensive or just plain dull.)

Don't get me wrong, I'm not that upset about these cancelled shows - nor do I expect I'll miss them that much. Well, maybe Lipstick. Pushing Daisies - I knew wouldn't make it more than a season - let alone two. You can thank the writer's strike for it's extended life or blame it for it's protracted one. Up to you. Personally, knowing what I know about tv and most tv watchers - I'm thinking it's the former.
Read more... )

In any case - Majority rules, even if the majority's taste leans to really stupid things like Wide World of Wrestling, the Superbowl, American Idol, and Twilight (the book series not the Buffy villain). People suck sometimes, don't they?

Speaking of sucking and Twilight - picked up the new Buffy comic and Angel comic, which I devoured in a matter of two hours, maybe less. The Buffy comic was better than expected, I admittedly went in with low expectations. But, how many times do they have to tell us that Buffy is alone and miserable and hates her current life? And in how many ways? I know. Let's move on now. But it was fun and quirky. Art - horrid. Made me miss Jeanty. Cartoon art - really only looks good in motion. Next issue - looks like it could be interesting or really annoying - good news is that it's being written by Jane Espenson, bad news is...I don't like the character that is making a guest appearance. There's about five characters in the Buffyverse - I'm not that crazy about, which just keep popping up over and over again like cockroaches. The next issue features one of them.

Angel - After the Fall Issue 15.

spoilers, of course )
At any rate - enjoyable read. Getting late and I'm starting to drift and babble, which I do when I get tired. So signing off for now. Don't know when I'll post again. Tomorrow night if time permits.

Happy Holidays.
shadowkat: (chesire cat)
[Warning: This entry is filled with typos and paragraph gap errors, because I have no time or interest in proofing it.]

I thought they were only doing 12 issues of this series? Apparently I was wrong, since from what I've read - there's a cover for issue 14. Not that I'm complaining, I rather like Lynch's take on the Angel Series. Actually prefer it to Whedon's take on Buffy.

I've come to the conclusion regarding the Buffy comics - that they are being written for fans of Fray, if you aren't a fan of Fray, have no interest in Fray, have never heard of Fray and don't find the general themes of the potential slayers, power, leadership and war that influenced/inspired Season 7 Buffy and Firefly - you are not going to enjoy the Buffy comics very much. If however that stuff makes you jump for joy, you are probably in heaven and have no clue why the rest of us are whinging about it. Also - worth noting, the Buffy comics are not by the same writing team that did the TV series.
Buffy Comics vs. the Angel/Spike comics )

Angel After The Fall: Issue 11 Review - brief analysis on the unsouled vampire/human dynamic )
shadowkat: (chesire cat)
I enjoyed this issue, even if I found the artwork somewhat jarring. Nick Runge drawings are sort of stiff and have too many lines for my taste, I much prefer Frank Urru's softer style, when I look at Urru's pictures - they appear to move, and look like paintings one might see in an animated film. Runge's drawings in contrast feel more like illustrations, stop-motion photographs. The characters frozen under the pencil of the artist. Stuck in time, until he lifts his gaze and tells them they can move. Not that there's anything wrong with that, it's just a style that I find somewhat jarring, and unimpressive, partly because it's how I draw. I'm far more impressed with artists that can capture fluidity of motion.

Georges Jeanty's art is actually much better. And Runge makes me appreciate him, even if Jeanty's women all tend to look like 15 year olds with pudgy cheeks, small busts, and short legs. Runge's characters are at least distinguishable, just a bit stiff. The best part of the comic may be the Wes/Illyria interaction at the end. The worste is the fight sequence at the beginning which because of the artwork is rather confusing. One of the biggest challenges of this particular medium is that - so much must be conveyed by the artist, the setting, the facial expressions of the characters, movement, clothing, action...while in novels the writer can get that across with words, or in film, the actors/set designers/cinematographers get it across. Here - it's the artist. The writer supplies the dialogue, the plot, the explanations, but if the artist is unable to convey expression or movement or even setting, the writer's words fall flat. Runge manages to convey expression quite well, actually. But movement, not as well. It's awkward. And that may be a problem for a series that has so many action sequences.
Review of Angel S6 )
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