[comic fan]

Full transcript of Brad Meltzer's Twitter Q/A for the Twilight arc.

Brad Meltzer (bradmeltzer) on Twitter

BM: First -- a big thanks to all who sent questions for twitterfest/Buffyfest. You guy let me off easy, but here goes...

Q: Are the frays erin,melaka and harth going to be included in this whole orgasmic universe thingy

BM: the fish from Fray did.

Q: how do you get the 1st pg has as reference: star wars & back to the future?

BM: Huey Lewis/confusing english

Q: I'm a huge Spike fan and I don't like Angel.Where is Spike?

BM: Last page.

BM: Pause. I'm tired.

Q: Does Buffy still love Spike?

BM: We'll see.

Q: Will Spike appear on 35 issue?

BM: Yep.

Q: Did Angel use Buffy as a Key to open a portal to the Twilight reality?

BM: They opened it together.

Q: Did he kill 206 slayers before to make his Key powerful?

Bm: They did die. Can't say he killed them.

Q: Loved your run on Buffy! Don't stress the fans; they bitch about everything.

BM: Excellent question.

Q: What is it about this couple that makes us so emotionally connected to them?

BM: Chemistry.

Q: What character did you play on Buffy? I just don't remember who you are

BM: I was Spike.

Q: You just finished your run on Buffy The Vampire Slayer. What are you going to do now?

BM: Play coy for a few hours.

Q: Favorite issue?

BM: 34 and 35. And 32. 33 was written by my daughter.

Q: What was it like working with Joss on Buffy S8?

BM: Fun.

Q: Who's your favorite Buffyverse character you didn't get to write?

BM: Buffy's dad.

Q: Are you going to be back for Buffy season 9?

BM: Not after this.

Q: Man you rock! Will it be possible for Satsu to be back?

BM: Why not?

Q: Will the Angel-Buffy-Spike triangle NEVER END? Good intro for Spike though

BM: Do you want it to end?

Q: is there really going to be a Buffy season 8?

BM: um...yes.

Q: Why did you write willow so weak in #buffy? She's so unsure compared to the willow we all know

BM: Angel doesn't think so.

Q: In total shock at the conclusion of @bradmeltzer's arc in Buffy S8. Everything I wanted and more.

BM: Great question.

Q: Enjoying the twilight arc, do you know if we're gonna get more explanations for Angel's behaviour in Joss' arc?

BM: No spoil.

Q: 35 question! Now that Spike is back, does this mean that Angel should ready for a beat down?

BM: I'd buy that.

Q: Why is Spike dressed like Villain!Spike from Seasons 2-4 with shirt & rings? Maybe he's in a time machine!

BM: Maybe.

Q: Angel is ok w/ killing innocents in pursuit of ascension? Only to give up at the last sec?

BM: See title. of last chapter.

Q: My question is this:will we get any more lovely B/A moments?

BM: Not my story to tell.

Q: Have you and Joss talked about Buffy's relationship with Angel and Spike? Has he given you his insight?

BM: He gave me all his insight.

Q:Why didnt Angel lose his soul?!

BM: Good question.

Q: F%#& evolution - best line of your Twilight arc

BM: Even better question.

Q: Is Angel OK with smashing Faith's head?

BM: He was surprised he hurt her.

Q: Was Angel's master-plan just to be able to push (and shag) Buffy to the Twilight realm?

BM: Not shag. But to move to next level.

Q: Is the whole Twilight arc "reality bends to Buffy's desires" ?

BM: No - it really happened

Q: Did you gave Jeanty specific instructions how to draw Spike?

BM: No.

Q: The 1680' watchers went on mass suicide based on what symptoms and there are no records of those?

BM: Giles knew.

Q: What about the spicegirl's jump suit?

BM: I dug the white suit more.

Q: Why the always come back to the slayers and vampires relationship?

BM: Dur.

Q: It seems like we're still missing vital information as regards Angel as Twilight. Can we expect in Joss' arc?

BM: We'll see.

Q: I love Buffy and Angel talk about how they missed each other, was there a reason there was no declarations of love?

BM: Nope.

Q: Is it possible that Angel might be sticking around after this season of Buffy? It has been so great having him back.

BM: TWT (time will tell)

Q: How much do you think it would cost us to hire DB and SMG for a photoshoot to advertise season 8?

BM: More than you have.

Q: Is there any chance, in your opinion, that Joss might finally allow Buffy and Angel that future?

BM: Always a chance.

Q: Are you pleased with the fan reaction to your arc? Surprised by some reactions? Warned in advance? 8

BM: Yes. Yes. Yes.

Q: in #35 Buffy and Angel argued showing they don't know each other anymore, so except the sex, where is the connection

BM: Disagree.

Q: where you surprised to find out that Buffy Angel reunion wasn't what people expected for ten years?

BM: No.

Q: Should we be scared for the life of any of our beloved characters?

BM: TWT (time will tell)

Q: Does Satsu will remain relevant in the rest of the history?

BM: I think so. For sure.

Q:Any dialogue or plot point you are the most proud of?

BM: However I answer this, that line turns to crap.

Q: Are you going to be back for Buffy season 9?

BM: Not after this.

Q: Was Angel deciding to leave with Buffy his way of reclaiming control Twilight had of him?

BM: That decision had power.

Q: Did you or Georges choose what 80s Buffy wore?

BM: I said 80s. He said clothes.

BM: That's it. Done. Did em all. Thanks to all who asked. And sorry for the spam to everyone who follows.

And thanks to all the Buffy readers who stayed and took a chance on me. Butterfly kisses to you all.

[comic fan]

Buffy Goes from 'Twilight' to 'New Moon' With Parody Comic Cover - ComicsAlliance | Comics culture, news, humor, commentary, and reviews

May 6th 2010 By: Caleb Goellner

Buffy Goes from 'Twilight' to 'New Moon' With Parody Comic Cover

Despite the rather intense differences between the vampire lore of Joss Whedon's "Buffy the Vampire Slayer" and Stephenie Meyer's "Twilight," themes of romance and rivalry (and the name of a certain character's former secret identity) tether the franchises together at least superficially. Recognizing the value of parody, Dark Horse Comics has released a new cover for "Buffy the Vampire Slayer" #36, which echoes the love triangle of "New Moon" pretty hilariously.



MTV Splash Page has an exclusive first look at the full cover, putting Angel, Spike and Buffy in the place of Edward, Jacob and Bella. It's an ironic set of replacements considering Buffy's slayer skills compared to Bella's characteristic helplessness. There's also the matter of Buffy's considerably more liberated libido standing in stark contrast to Bella's more repressed urges.

The cover alone won't reveal whether Buffy winds up with either vampire long term, but those on "Team Angel" can always root for Buffy to birth a fast-aging daughter for Spike to creeptastically crush on.

Readers can find out for sure when Whedon and artist Georges Jeanty hit the title this September.

Buffy lampoons Twilight: Now if only she'd slay 'em ... | SCI FI Wire

Buffy lampoons Twilight: Now if only she'd slay 'em ...

The cover of the upcoming Buffy season-eight comic takes aim at Twilight.

POSTED Thursday, May 6, 2010



If you're the kind of fan who think the best way to end Twilight is to have Buffy drive a stake through Edward Cullen's heart, here's a treat: the cover of the latest Buffy comic lampoons The Twilight Saga: New Moon, below.



Compare it with the original art for New Moon at the bottom of the story.

The cover is by Buffy artist Georges Jeanty and will grace issue 36 of the "season eight" series of comics. The official description is below.

Buffy the Vampire Slayer Season Eight #36

Season Finale part 1 of 5

Writer: Joss Whedon
Penciller: Georges Jeanty
Inker: Andy Owens
Colorist: Michelle Madsen
The Big Bad finally stands revealed--Angel is Twilight, and it's tearing the Scoobies apart, testing the limits of their friendship. Seems like a perfect time for Spike to come back.

Joss Whedon writes the final five issues of Buffy Season 8, taking his greatest characters to places only he can take them! Teamed with series artist Georges Jeanty, Joss counts down to the biggest Buffy final ever--and it starts right here!
On sale: September 1, 2010
Price: $2.99


How much do we love Buffy?

(Thanks to MTV.com for the exclusive!)

[ashleyt]

I thought that Spike wasn't going to be on a cover? I guess fan reactions really does influence Joss.

[comic fan]

Originally Posted by ashleyt (View Post) I thought that Spike wasn't going to be on a cover? I guess fan reactions really does influence Joss.

They've never said Spike wouldn't be on a cover.

CBR's Behind Buffy Season 8 for issue 35.

BEHIND BUFFY SEASON 8: "The Power of Love" - Comic Book Resources

BEHIND BUFFY SEASON 8: "The Power of Love"


Brad Meltzer returns to CBR for the final installment "Twilight," explaining how his story boils down the entire Buffy mythos into an argument, what fans can expect after the last page reveal and his future comics plans.

by Kiel Phegley, News Editor

SPOILER WARNING: This article contains major spoilers for "Buffy the Vampire Slayer Season 8" #35, in stores now.




As it nears its conclusion, Dark Horse's "Buffy The Vampire Slayer Season 8" has been gaining more and more buzz with readers, both for the controversial leak of the series main villain Twilight and for the arrival of all-star writer Brad Meltzer on the penultimate "Twilight" arc, which concludes with this week's "Season 8" #35.

To help prepare fans for the hit series' impending finale, CBR is back with an all-new installment of BEHIND BUFFY SEASON 8 - a monthly column featuring interviews with the creators and staff behind the creation of Buffy's last two stories highlighting the questions being answered, the characters thrown into crisis, and the future of the entire Buffy franchise. This time out, Meltzer wraps his in depth analysis of "Twilight" with a look at the philosophical debate that will help define the Buffy and Angel relationship for years to come.

So read on for Meltzer's take on the Easter Eggs hidden in Buffy's clothes, what '80s band inspired him and more secrets from "Buffy The Vampire Slayer: Season 8's" penultimate arc.



CBR News: So Brad, whenever I see the phrase, "The Power of Love" – even as a Buffy story title – I think [to the tune of the News] "You feel the power of looooooooooooooove!"

Brad Meltzer: I promise you that there was almost a Huey Lewis joke at the end of the third issue. That was absolutely intentional. I did not pick this title for any other reason than the Huey Lewis reference. How could you not?

Well, a lot of people might think of Huey Lewis as cheesy. I think he's feel good. A lot like "Buffy" in that sense.

I think when you say "The Power of Love" in a vacuum, it's taken very seriously, but when you say it in "Buffy" it gets that almost uncool cool from it. That's what I wanted it for. We've said this before, but so much about what's great about Buffy is not just putting the tongue in the cheek but everything in the cheek. I really love that about the book and about the character, so of course I think those references kick off best.

We've talked about how each issue has its own feel in a genre sense, but the thing that stood out to me here was that the issue really felt like an old school stand alone single issue. Even though it's the last part of a four-part arc and arguably the point the whole series has been building towards, everything you need for the story is there on page one: "It's always a trap."

And this was very much intentionally similar in setup to what I did in "Justice League" #11 with Gene Ha. It absolutely stands alone and runs with a specific problem and specific solution, but the resolution cuts to the very core of who every character is. And that to me is the best kind of problem to play with.

When you've got these ongoing serial properties that you don't often get to "change" so everything is blown apart and different from where you started, isn't part of the fun finding ways in the telling to hit those grace notes with the character?

We're always hit with that set up. As readers of this entire medium, do you really need to be shown a giant explosion and people running to get it? What I love about the Buffy readers is that they already know the genre. They know what to bring to it and already know the set up, so let's get to the character beats.



There's a rhythm in the opening panels where Buffy is very intensely waiting for orcs to come over the hills, and then we get a butterfly!

I love that moment. And all credit to Georges again. He's the true star, and this is a true team project. You talk to me every issue, but we all know that 50% or more should be credited to him.

When you're writing the script for someone who's on top of their game as Georges, how do you determine how your going to do things with the idea of Buffy and Angel's clothes changing as the story goes along? Some of these past Slayer/vampire combos we saw last issue, but did you go through the whole history of Buffy to find certain elements and stories to reference and give them to Georges?

Joss and I specifically spoke about it. This is one of those things where you have to check with the boss, and I said, "Okay, I really want to go through the history of the Slayers." The idea here, very simply, is that everyone's been faced with this problem whether they knew it or not. This set up has been here for centuries. Buffy's just the only one who ever got out of the maze. So I love the idea that what has happened to her very much has been able to drive home that idea that this isn't just her problem but it's been a problem throughout history. It not only takes the scope and makes it bigger just for the sake of "bigger must be better," but I've also always loved that in the continuity the idea that this has been going on and on. Whether it will continue to go on, we'll see.

As for who we picked, some of them I was very specific about. I knew I wanted the Slayer who Spike had killed on that subway. I knew it. She was selling the moment for me. Some I didn't know their names, but I could say, "I want the Slayer from India in this exact year." Georges and all the editors would incredibly find them, and then he would come up with a few when I'd go, "Pick what you like." I feel like in a collaboration, all the writers who write comics think, "I'm the director of this" and all the artists who draw comics think, "I'm the director of this." The truth is, it always works best when you both are. So I tried to solve half of this, and Georges tried to solve half of it. I think that's the best way – let everyone bring their energy to it. We talked for a long time about how it would look and the backgrounds and what they'd wear when they first got there. It's hard, and it's all on Georges shoulders to carry off.



As we move on to the next scene back with the others, this conflict centers around the idea that while everyone is accusing Giles of holding things back, all he can say is "You have no idea how much stuff I know that I don't talk about. How was I to know this one myth was the one that's true?" In his dialogue and in that shot that Georges draws, he looks really regretful.

He's burdened. That's absolutely the goal here. From where he's standing in that shadow...well, he is the only one standing in that shadow. That's very much intentional.

When you come in to a story like this where the story is shared amongst so many writers, you don't get to complete everyone's arc, do you try to take a character like Giles and give him a turn or an idea that leaves him in a bit of a different shape than when you got him?

I think as writers when we look at these other arcs we see what we want to see. For me, I always saw this in Giles. And some people would say, "That's just been pulled out of whole cloth," but it's not. In Brian Vaughan's arc when Giles was running around with Faith and we couldn't immediately see why that was, my first thought was, "That's great. We're going to use that too." That's what I saw. To anyone else just reading the comic, you can't possibly see it like that. And again when I saw Giles going to yet another country because yet again he's the good "explanationer," everyone else sees "That's the role he plays," I see an opportunity to try and roll all these ideas together. And sometimes that works, and sometimes that doesn't. I love as a reader when it all makes sense. We talked about it, and Joss said, "I love the idea that he knows all these things that we don't know he knows." And I can show you any number of examples that are just like that, right back to his origin story which comes out of a very old secret. I always say the best writing with a long-established character...well, I think it's horrible when you just pull something out that's brand new because "I need it for my story." That's bad writing. The best thing is when you pull something out, and the reader goes, "How did I not see that there. Of course, that's always been there." That's letting the character lead you as opposed to you leading the character.



As the series has gone on, one thing that Georges has brought out is how different and varied the demons can be. On the show, it seems we always got the California demons.

Yeah. You got the humanoids.

The book has now opened up that possibility on that front for creatures that, like with any comic, you can't do on a TV budget. Did you try to take specific advantage of that?

Listen, once you give Buffy superpowers – true superpowers and not what she usually has – where she can fly through the air and lift a train over her head, you're now in the $100 million or $50 million budget world. I have to credit Georges here though because I think it's easy to go, "Now I'm going to draw the big, ugly thing, and it's going to scare everybody," but Georges on the page you're talking about came back with very specific questions on which demons we wanted to do because it was him who wanted to tie it back to those first issues of the comics series, and then Joss realized he could tie it back in with what he's got coming up. So a real discussion broke out – what do they look like? We weren't going to just make them super ugly because they're crazier than the humanoid version.





Back to Buffy and Angel, it must be hard to write a scene like this where you're juggling costuming and scenery changes and also get to the core of the debate and who's winning the argument while making sure you get the big mythology info worked in in a natural way. Did you have to do a lot of reediting to go back and tweak that balance?

I think it's just one of those moments as a writer where you hope your gut is leading you right. I don't ever sit down and go, "Now I need 10% jokes, 10% background and 40% of whatever." You just know it in your head. When I write dialogue, I just hear that "ping, ping, ping, ping" that tells you what the rhythm is. I can't tell you how I know it – you just know it. To me, when you're having this philosophical discussion and you're dealing with the history of the characters and you're dealing with history that goes back thousands of years, you just have to not let any of them be the master. You have to service each one equally and there will come the best broth. If it works, I'm thrilled.

"Reality is what you make of it" is Angel's argument for how this whole scene is working and why the background fades out, but it seems the more important reason to do the Daffy Duck bit is because you want to go, "Here are our two characters. They've been through everything together, and now they're at odds. Let's focus everything on them."

This was absolutely intentioned in that this is not about arguing who to fight. It's not about arguing who to kill. It's a debate about their entire existence and their approaches to life. It's the conversation you haven't had since you were a Freshman in college. I felt like if you were going to do that and you were going to pull it off, let's bear it down to exactly what it is, which is just them. This is them and their approach and their existence.

How hard is it to split your empathy for each character's point of view while writing them? Buffy has so much history with the Scoobies and her family and reasons for going back, but it seems with Angel who's lived so long alone and through so many lives you want to put yourself in his shoes to a certain extent so you can make his half of the argument that much stronger on the page.

I can say very clearly, there's not a question of who I agree with. Buffy sings in this issue because I so firmly believe what she's saying in every panel. I really do. I just can't view anything as more important than those ties we have with our family and friends. It's at the core of everything I am as a person. So yes, it is absolutely more difficult for me as a writer to get into that mental mode where you see Angel and what he sees. I think it's a similar thing whenever you write that "immortal." There has to be this cerebral/emotional distance you see in that character. When Brian [Bendis] writes Christian Walker in "Powers" or even in something like "Highlander," it's not just that it's cool to be quiet. I really think to have gone through that much death and that much horror and that much loss of loved ones, there has to be a disconnect from yourself and reality. Otherwise you'd go insane. And that's not something I ever want to be able to relate to, but I certainly try hard. What's also important here is that Angel is not being cold or uncaring. He just has a different view here because of his own experiences. There is a real fine point on that.



There are a few more Easter Eggs thrown in here, and on page 18 we've got the Union Jack...

That's Georges' pick. That's Jenny Sparks [from "The Authorty"]. [Laughs] This is where we really divide the geeks from the geeks.





Letting the pendulum swing back to the serious, we've got this page where you do what I think a lot of comics writers try to do these days and sometimes they're less successful than others: you distill down everything about who our main character is into one moment. "I never do what I'm meant for."

The one great piece of advice that's taped to my computer is "Show don't tell." That's the rule, right? This is an absolute "tell." The only reason it works is because there's also a great "show" going on at the same moment. This decision she's making is the ultimate show. If she just walks into a bar and goes, "I never do what I'm told to do," you go, "God, that's the worst writing ever." But when she says that right in the moment of making that decision, it makes me just love that character even more.



And as Buffy makes that choice, we have to wait for a minute there and see what Angel is going to do. I'm not reading this in the final print form, so I don't know how the ads will lay out, but I'm assuming the moment where he says, "Let's go" is going to be a page turn.

That better be a page turn! [Laughs] I think I specifically told them to make this a page turn, of course. This is it, right? I will wager good money – and this is one of those things where for myself as the writer I can absolutely see you turning the page and getting a different result. That's what the moment is. You don't know what Angel is going to do. You just don't. That's the best cliffhanger of all: where you can absolutely see both paths.

And it's the fun conceit of this story that they can make that choice and then directly jump back into the action.

Right. I couldn't get away with this in my novels. My editor wouldn't let me do it. There would have to be so much more explanation. How did they get into this? How can they just go and fight? You'd need all that stuff, but in "Buffy" you can do it because with "Buffy" we all know what the tropes are.

And we're not going to show this, but we move into a double-page splash after this that's just a return to classic Buffy and Angel.

That's it. It's supposed to be classic Buffy and Angel. You've debated your existence. You've debated your approach. And what wins is the reality that you've always been a part of.



There's a lot left in this story for Joss to pick up on later, but the one thing you do get here at the end is just what we talked about last time. When it comes to Spike, "Soon is soon."

Truth in advertising. For once, I don't think anything needs to be said. If you're not ready after that ending, I've got nothing else for you.

Well, Brad...it's hard as a writer to really critique yourself honestly sometimes, I'm sure, but since you came in with the goal of wrapping everything up and taking on the big arc, how do you feel you did? Did you get to use all the pieces you thought you would when you took on the "Buffy" gig months and months ago?

How can I possibly answer that? [Laughs] To reveal who Twilight is. To reunite Buffy and Angel. To let them sleep together and have a completely beautiful explanation of how the entire Buffyverse works only to have them debate whether or not they believe in that explanation. Then for the cherry on top, here comes Spike. I think the only thing that can be said is what a generous person Joss is to let that all go. I love that he would hear my crazy ideas, but to let me play with all of that is generosity beyond compare.

You've got your book "Heroes For My Son" about to hit, and I know you often go back and forth between doing a whole book and doing a whole comics arc in one fell swoop. Does that mean we might be seeing another comics project from you soon?

Well, first off there's a book tour for "Heroes For Son" which starts in three days. So anyone who wants their Buffy comics signed, please come! And then, I handed in a draft of my next novel, and when that's all done I can really look and see what I can play with next and what's out there. To be completely honest, I can't focus on that until we're there. But I hope people see where my passion for this medium is and how great it is that I get to come back like this weird uncle every Thanksgiving.

For more on Brad Meltzer's "Heroes For My Son" tour, go to Brad Meltzer - Brad Meltzer - Bestselling Thriller Writer, Mystery Writer, Suspense Legal Freemason Novels and Lots of Other Stuff and check back to CBR in the months ahead for more news on the finale of "Buffy The Vampire Slayer Season 8."

[Ace Of Hearts]

Originally Posted by comic fan (View Post)

God, this is awful. I wish they hadn't made this kind of analogy.

[ashleyt]

You mean with Jacob standing in the way of the person Bella can't live without? Or the fact that it's equating Buffy to Bella which is blasphemy?

I think Joss is making fun of shippers

[comic fan]

Another issue 35 review.

Buffy the Vampire Slayer #35 - Reviews - Broken Frontier

Buffy the Vampire Slayer #35 Review



Posted by Jason Wilkins
on May 7, 2010

What struck me most about this issue of Buffy was how much it felt like I was watching the TV show. This isn’t a bad thing. In fact, given this series’ title, it’s the entire point.

In this so-called final chapter of the Twilight arc, Buffy and Angel (Twilight) wake up from their universe-warping bumping of uglies to find themselves in a higher plane of existence (also Twilight – don’t ask…). Both characters react just about how one would expect. Brad Meltzer does a fine job capturing Buffy and Angel’s unique personalities but it’s once again Georges Jeanty who steals the show with his wonderfully expressive faces and atmospheric backgrounds.

It isn’t just the creative team’s ability to capture the essence of these characters that evokes the feeling of the television show. Even more than last issue, one could feel Buffy creator Joss Whedon’s guiding presence in this “episode” of Season Eight. It’s hard to put a finger on. There was a distinct rhythm to each installment of the TV series, though. That isn’t to say it was formulaic exactly but there was definitely a method to Whedon’s madness.

The plot alternates easily between Buffy and Angel’s post-coitus discussion of the ramifications of embracing Twilight and the Scooby Gang’s desperate fight for survival against an infinite horde of demonic “Placenturians.” The two parties start off separated by different planes of existence but swiftly draw closer together as Buffy realizes her true place in the universe is with her friends – even if it means thwarting fate. Finally, she convinces Angel, in typical Buffy Summers fashion, to give up paradise and return to the earthly plane, just in the nick of time to save Xander, Willow, and the rest of her friends.

Here again, Whedon’s guiding hand can be felt. One of the hallmarks of the TV show was its use of metaphor and the fantastic to comment on some facet of the human condition. All great speculative fiction performs this function. It holds up a twisted carnival mirror to society and dares us all to peek.

In many ways, Twilight is a coming of age tale at its core but it isn’t all about sex and intimacy, which would be the easy assumption to make after last issue. Rather, it’s about maturity, sacrifice, and unity in the face of diversity – and not unity as we define it today in socio-political terms but the unity of spirit that comes from the love and understanding between lifelong friends.

All of this – the balanced plotting, the strong characterizations, the use of metaphor, the big reveal at the end – brings to mind the comic’s television forebear. Once again, Whedon and his team successfully continue the ongoing saga of Buffy Summers in Season Eight and more than ever before, this issue feels like a season-ending cliffhanger from the TV series. It leaves you panting and out of breath and wanting nothing but more of the same.

And just wait until you see that last page…

[Ace Of Hearts]

You mean with Jacob standing in the way of the person Bella can't live without? Or the fact that it's equating Buffy to Bella which is blasphemy?

Definitely the second part. I honestly don't like the fact that Edward and EB is being compared to Angel and BA (sorry folks but Angel >> Edward). Honestly, it's really unfair to do this sort of comparison, you just know people will get mad and disagree with that. Some fans don't even like Twilight at all, so it's even more offensive. LOL

I wouldn't say Joss is making fun of us, but rather the person that gives the idea for the cover. It's really lame.

[ashleyt]

I do think Joss is making fun of the fans He wants to write a story and people keep focusing on the shipping aspect of it and insulting him and his writers so he's brought his brilliant series down to the Twilight level. That's what a lot of the fandom is doing anyways.

[Ace Of Hearts]

I'm kind of disregarding the comics altogether now. I mean they're fun and stuff but it's not really BtVS anyways so. Also, this whole Angel is Twilight thing is turning out like quite the mess, and I think Angel is a little OOC as well.

[ashleyt]

I don't think Angel's OOC but I do think that his story is not being treated fairly in order to write Buffy's which made sense back in S2 but we're in S8 and Angel's a fully fleshed out character with his own show. I don't think he's been explained properly at all.

I still think they're canon I've never been in love with them but there are story lines that I did like.

[comic fan]

The revised Jo Chen cover for Buffy #36.

Jo's Playground

Spike revised - Buffy Season 8 issue #36 cover

After a few comments were made on whedonesque.com about how I flubbed Spike's eye color on the latest Buffy Season 8 color, I conferred with editor supreme, Scott Allie, who confirmed that "Yeah, the eyes should have been blue..." and that the actor has some sort of scar on one of his brows. I never noticed these things, or if I did at one time have forgotten them. And nobody mentioned anything to me when I submitted the final painting. I think it may have been noticed by Dark Horse and JW but maybe they didn't wish to pester me to make such small changes.


Miffed, I went back to look at my reference material and his eyes still looked brown to me but clearly the material was misleading. Night scenes, shadows, etc. So, now his eyes are blue and there is a hint of a scar on his brow.


I hope that everybody is happy or at least happier now. Can't please everybody at all points but I do my best. This should be more to everybody's liking. They were simple changes to make.



You can see it at Jo Chen's site.

[Ace Of Hearts]

I don't think Angel's OOC but I do think that his story is not being treated fairly in order to write Buffy's which made sense back in S2 but we're in S8 and Angel's a fully fleshed out character with his own show. I don't think he's been explained properly at all.

Yes, that's how I feel as well. I think his reasons for doing what he did aren't entirely explained. I hope they do adress them soon enough.

[ashleyt]

Joss is penning the end of the season so we'll see

[comic fan]

I'm 100 positive that Angel's backstory for how he became Twilight will be explained by Joss in his arc.Probably in the next very issue in September.

Full Dark Horse August Solicitation.

Comics Continuum: Dark Horse Comics for August

BUFFY THE VAMPIRE SLAYER: RILEY

Written by Jane Espenson, penciled by Karl Moline, inked by Andy Owens, colored by Michelle Madsen, covers by Moline and Jo Chen.

Acclaimed Buffy television writer Jane Espenson is back with answers to one of the surprising twists she and executive producer Joss Whedon introduced in the hit story arc "Retreat"!

In the midst of the battle, Buffy's former flame, the demon-fighting soldier Riley Finn, seemingly in league with Twilight, was revealed as a double agent working for the Slayer army. Now Espenson and artist Karl Moline (Fray, Willow) uncover the secrets of Riley's recruitment by Buffy, his infiltration of Twilight's inner circle, and what's become of him and his superspy wife, Sam.

This essential one-shot delivers thrilling spy adventure and is filled with major revelations for the story of Buffy Season Eight!

40 pages, $3.50, in stores on August 18.





BUFFY THE VAMPIRE SLAYER SEASON EIGHT VOLUME 7: TWILIGHT

Written by Brad Meltzer and Joss Whedon, penciled by Georges Jeanty and Karl Moline, inked by Andy Owens, colored by Michelle Madsen, cover by Jo Chen.

Buffy Summers and her Slayer army have suffered heavy losses throughout Season Eight and faced scores of threats new and old, but the one mystery connecting it all has been the identity of the Big Bad -- Twilight!

In this penultimate volume of Season Eight, New York Times best-selling novelist and comics writer Brad Meltzer (The Book of Lies, Identity Crisis) joins series artist Georges Jeanty in beginning the buildup to the season finale in the story line that finally reveals the identity of Twilight! In the aftermath of the battle with Twilight's army, Buffy has developed a host of new powers, but when will the other shoe drop, and will it be a cute shoe, or an ugly one? Still reeling from the losses of war, Willow goes looking for missing allies, and discovers a horrifying truth about several of the Slayer army's recent ordeals. Adding to the mayhem is the unexpected return of Angel, in his Season Eight debut!

This volume also features two stories from series creator and executive producer Joss Whedon!

Collects Buffy Season Eight #31Ð#35, and the Willow one-shot.

168 pages, $16.99, in stores on Oct. 6.