Spike: Shadow Puppets, issue 3 review

[moscow_watcher]

The secret of a good sequel is the ability to open up and re-imagine the original source. That's what Spike: Shadow Puppets does in respect of Smile Time.

I rewatched Smile Time quite recently, during Buffy con in Kiev, and I appreciated again its mesmerizing combination of fun and morbidity. Because, for me, it's a very scary episode about mass culture sucking out people's brains while singing politically correct songs about self-respect for everybody.

Spike: Shadow Puppets goes further. The first three issues which tell a funny and gripping story about evil puppets' machinations, open bigger picture of of mass culture brainwashing the audience. The comics explore the situation both on global scale (evil guys wreak hawoc in another country) and on personal, intimate level.

In issue 2-3 Spike and Lorne arrive in Japan, confront evil puppet ninjas, meet two Spike's aquaintances from Asylum, telepathic fish Betta George and Beck the firestarter, as well as Tok - fierce girl-warrior, a ninja-for hire who specialises in battling the supernatural. Together they find a factory where puppet ninjas are created and after a fight with the team of evil puppets find themselves in a room with an egg that turns Spike and Lorne into puppets. They manage to blow up the puppet factory and run away. Evil puppets decide to go personal and, instead of ninjas, they create a puppet!Angelus. [to be concluded in issue 4].

Lynch explores mass culture's invasion into peoples' mind in subtle ways. Here and there we see children's curious reaction to violence. In issue 1 there is an American child, who smiles and points at burning demon. He isn't afraid or disgusted. He is entertained. In issue 3 we see a Japanese child who reads manga magazine totally oblivious of the fight in the same room - as well as two alive talking puppets and flying fish. Children see real life as a continuation of mass culture. Or don't see real life at all.

Moreover, the characters see themselves as "characters" and the world around them - as a never-ending show. "I'm the main stage, you're strictly warm-up", says Spike to Tok. "It was post-brawl banter", says Beck about Spike-Tok interaction. "...I'm not necessarily canonical" - characterizes itself telepathic fish Betta George. "Bring on Spike! Our battle will be the stuff of legend and fan-fiction!" Puppet!Angelus declares.

It's a risky approach. Whedon did it only once (OMWF), in a small dose ("Dawn's in trouble. Must be Tuesday.") and in a very special episode. Otherwise he kept the fourth wall intact. Lynch openly plays with fandom ("official cannon", which echoes fans arguments, is a gem). On first sight such attitude may seem weird and even jarring. But ultimately it works, because it goes along with the main theme about mass culture playing with the audience and about people perceiving themselves the products of mass culture.

The story also succeeds because the execution is practically perfect. Every panel is memorable. Urru works miracles with Tok's ponytails and Beck's mane, Spike's and Beck's dusters, puppets' padding. The scenes of action aren't just drawed. They are choreographed, shot with a magic steadycam and seamlessly edited into elegant dances of death. Urru's also very good with face expressions, both human and puppet. *sigh* I wish it were him who draws Buffy and Faith: both could benefit greatly from his powerful and expressive style.

The dialogues and "thought boxes" (I'm not sure I use the right term, hence the quote marks) are crisp, laconic and extremely funny. Playing the idioms "I heard it straight from the horse's mouth", culturological references (that famous scene with horse's head from The Godfather) including Jossverse speak (Beck tries to imitate Spike's vocabulary, with hilarious results), Lynch creates the narrative that easily flows through time and space.

The difference between BtVS season 8 and Lynch comics is that upon rereading season 8 I notice blunders and upon rereading Lynch comics I notice funny and clever details he inserts here and there: in the heat of the battle Spike's torn hand works autonomously; in a sushi bar Beck fries raw fish with her eyes; evil puppets cover the the hole on the wall with band-aid; Tok's assumes that Lorne is a "man-dragon". Tok looks very impressive and I wonder if there is some dark secret behind her cool facade. According to fenderlove, while Shinobu is a Japanese name, Tok is not. Tok is an Inuit name meaning "peaceful crossing." Shinobu is Japanese for "to endure." The first character of Shinobu is 'Shi' and is used in association with words dealing with Death. Very intriguing.

My very minor gripe is that sometimes substantial plot points are built around relatively obscure facts. For example, after issue#1 I was sure that it was Spike from the future who has sent his past self the cassette with "Smile Time". I couldn't interpret the address "For Spike (not the ponce)" any other way. I haven't read Asylum, I didn't know that Beck is imitating Spike's lingo and I was utterly confused with the story because I was expecting some time-travel twist. I suppose these details may reduce the enjoyment for first-timers who watched the show but hasn't read previous comics. But, I repeat, it's a minor gripe.

To sum it up, Spike: Shadow Puppets is a worthy successor of Smile Time. And Smile Time, if I remember correctly, has been voted the best AtS episode ever.

After reading S: SP I think I'll take a chance on Lynch's AtS season 6. I know that the majority of Spuffies ignore Lynchverse and don't accept Lynch because of his pro-B\A bias. But this particular Spuffy is ready to risk pain and disappointment. Although it's quite possible that after the first issue I'll swear off comics forever (thank God we have fanfics).