moscow_watcher (![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
moscow_watcher) wrote2007-08-27 01:18 am
moscow_watcher) wrote2007-08-27 01:18 am
Entry tags:
Spike: Shadow Puppets, issue 3 review
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
![[livejournal.com profile]](https://www.dreamwidth.org/img/external/lj-userinfo.gif){kind=small}
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).
no subject
Must be quick, but as for 'the lack of Spuffy' in S6, then I doubt there can be less than in S8! Spike has mentioned(/thought about) about Buffy several times in both Asylum and S:SP. Buffy in S8 has not given Spike a single thought, as far as we can tell.
(And everyone knows that Angel and Buffy can't have each other. That's the ground rule of the 'verse.)
no subject
no subject
But, ironically, right now BA shippers are campaigning for isolating Spike in his own universe. They post on IDW forum where Lynch often posts, and ask him to keep Spike as far away from Buffy as possible.
no subject
*blushes* Thank you!
as for 'the lack of Spuffy' in S6, then I doubt there can be less than in S8
It's not the lack of Spuffy that bothers me. It's Lynch conviction that Buffy has never loved Spike and that she loves only Angel. Regardless of actual events on AtS s6 writer's attitude to Buffy will transpire into the overall mood of the comics and into characters interactions.
ground rule of the 'verse
After Joss' rewrite of Willow-Warren arc I'm not sure that there are any ground rules in the 'verse today.
no subject
But I'm also interested in long-term story arcs/character development -- which the Buffy comics still have a potential for in a way that the two Spike installments don't. That's no fault of Lynch's -- they are meant to be quasi-stand-alone-ish. I'll definitely be buying Angel 6, but don't yet know if Lynch is up to the bigger picture issues. Fingers crossed though. Cause if he can get that right and keep all the good qualities he's shown in the Spike material, Angel 6 will blow Buffy 8 out of the water.
no subject
I suppose these two Spike standalone comics - Asylum and Shadow Puppets - were kind of pilots for future AtS s6. Pilots to test writer's and artist's talent. And they passed the test brilliantly. I hope AtS s 6 will be as effective ans S: SP.
no subject
I adore what Lynch has done with this series, and gives me hope that he'll manage to rein Joss's involvement in the Angel series, and not let it turn into the dull rubbish the season 8 comics were.
no subject
I still like BtVS season 8 but so far the only character who really touched me was anonimous slayer in issue 5.
no subject
it's a very scary episode about mass culture sucking out people's brains while singing politically correct songs about self-respect for everybody.
Good point! I'd always wondered if that 'self esteem' song was meant to be a pointed dig at Angel, who was feeling very low at that moment, but it works on the larger scale too. It's a very Jossverse style of menace, to have something cute and seemingly positive turn out to be toxic.
I know that the majority of Spuffies ignore Lynchverse and don't accept Lynch because of his pro-B\A bias.
Not me! I haven't read any of Lynch's interviews - his work on Asylum and this series has been so solid that I haven't felt the need to go looking for reasons to spoil the fun. If Lynch actually has Buffy guest star in some future issue, and writes like a bitca, then I'll have a problem, but for now, I'm just enjoying seeing Spike written as a solid and unique character in his own right instead of weak comic relief or generic action hero (which is kind of what I got from Peter David's series - the Spike in Spike vs. Dracula was a pretty shallow portrait, I thought, nowhere near as layered and fun as Lynch's). Annnnnddd... I do that that from Spike's point of view, the idea that Buffy didn't really "love" him/loved Angel more is a valid take on the end of BtVS, and fits nicely into the big brother/little brother thing with Angel that Lynch seems to be working, where Angel is the gold standard Spike measures himself against. In terms of carrying forward from where we were left in canon, it works okay for me, (although as in the example above, I reserve judgment for later). : )
no subject
Thanks!
It's a very Jossverse style of menace, to have something cute and seemingly positive turn out to be toxic.
Actually, given that they invited David Fury to play the puppeteer, I can see another layer of meaning: that of characters becoming stronger than creators... :)
I do that that from Spike's point of view, the idea that Buffy didn't really "love" him/loved Angel more is a valid take on the end of BtVS, and fits nicely into the big brother/little brother thing with Angel that Lynch seems to be working, where Angel is the gold standard Spike measures himself against. In terms of carrying forward from where we were left in canon, it works okay for me, (although as in the example above, I reserve judgment for later). : )
Besides, the set-up that Buffy doesn't love Spike makes the writing job easier. No need to circumnavigate that tricky question why he doesn't contact her.
no subject
Bwah! Yes, good one.
Besides, the set-up that Buffy doesn't love Spike makes the writing job easier. No need to circumnavigate that tricky question why he doesn't contact her.
Exactamundo. And focusing on his insecurity on that issue, just like his insecurities re: Angel, makes for more fruitful characterization. If he's just being noble, well... kind of a dead end there. Not as much room for reader sympathy.
no subject
I answered your "for the ponce" concern on IDW: her Spike imitation is explained in issue #2 and there's no need to read Asylum for that. She says that she's sent that letter to Spike, and she also calls Lorne "ponce" and that's when Spike and Lorne realize she's been copying Spike. :) So that explains both the letter and the "ponce" on it.
As for Spuffy concerns in Angel: After the Fall: they did say no crossovers so the question of Buffy's preferences would be as irrelevant in Angel:ATF as it was in Spike series. I also think that when Brian started on it he started as a primarily Spike and Lorne fan and "Angel" series fan and just didn't give much thought to Angel or Buffy.
But now that he works with Joss and has to write Angel character he has to dig deeper into it and see it as a more complex thing. And Joss loves his triangle, dummit! I'm sure now he would never let anyone to resolve it in any way: he'd string us along and torment us forever.
And judging from Brian's notes on Shadow Puppets #1 that image in Buffy 8.3 was a shock to him. ;) I bet he's reconsidered his opinion on Buffy's preferences and Joss's take on it after that. :)
no subject
Thanks!
the observation on the kids consumed by mass media and confusing it with reality is brilliant!
Actually it was you who pushed my thoughts in this direction. Plus, I noticed that children usually are fascinated with the idea of life as a show. My children were great fans of The Truman Show 10 years ago.
And Joss loves his triangle, dammit! I'm sure now he would never let anyone to resolve it in any way: he'd string us along and torment us forever.
Interesting. I feel strong Bander vibes on BtVS s8, but, obviously, I'm the only one who sees it. Even the staunchest Banders don't share my ideas.
And judging from Brian's notes on Shadow Puppets #1 that image in Buffy 8.3 was a shock to him.
Obviously I missed something important. What notes?
no subject
http://blog.myspace.com/index.cfm?fuseaction=blog.view&friendID=335358&blogID=289532804&Mytoken=CA92A094-5244-4271-9512FBA1162ADCFD29254500
And it was copied on IDW on Shadow Puppets thread. I'm talking about this line: "Panel 2: Little sex joke about Buffy. Hey, she had our lead bound and naked next to Angel in her comic, fair is fair is fair." Seemed like it made a deep impression. :)
no subject
Seemed like it made a deep impression. :)
Heh. I bet it did. :)))
no subject
no subject