Just as “The X-Files” returned for shorter TV seasons in recent years, the “Buffy” comics take a crack at the miniseries format in Season 11, which is only 12 issues long, compared to at least 25 in the previous three seasons. On one hand, important side stories are missing within the overall arc of the US government’s smackdown of the supernatural population. On the other hand, Buffy shines this season – partly affirming superhero traits that have always been there, but also achieving milestones that would’ve been unthinkable in past seasons.
Writer Andrew Chambliss and artist Georges Jeanty stick the landing to conclude the character-driven yet suitably epic “Buffy” Season 9 with the five-issue “The Core.” It’s a crying shame that this marks Chambliss’ finale in the Buffyverse. He gets the saga back on track after the uneven Season 8 and keeps threads percolating for Season 10, to be written by “Angel & Faith” Season 9’s Christos Gage — who is really good, but not quite as good as Chambliss. Also in this post, I take a look at the season’s special issues.
In this next batch of 10 issues, Season 9 becomes slightly less Buffy-centric, somewhat to its detriment, but Andrew Chambliss continues to be a sharp writer and I trust he knows where the wider narrative is going. The only major misstep in this batch, surprisingly, is when “Buffy” veterans Jane Espenson and Drew Z. Greenberg step in for two issues to tell the origin story of side character Billy.
After Season 8, Dark Horse’s canonical “Buffy” comics do what the TV series did more than a decade prior: split into two series. While “Angel & Faith” go off to do their own thing, “Buffy” Season 9 sets up shop in San Francisco and welcomes excellent new lead scribe Andrew Chambliss, who had written for “Dollhouse.” Here are my reviews of Issues 1-10 of the 25-issue Season 9.
The “Tales of the Slayers” comics – a trade paperback in November 2001 and the “Broken Bottle of Djinn” one-shot in October 2002 – are primarily written by “Buffy” and “Angel” TV writers, which creates a high expectation level. These nine stories are fun, easy reads, but not as deep or substantial as one might hope for.
Since the beginning of “Buffy,” I’ve found myself liking the characters more and more and the world they live in — the “mythology,” in geek-speak — less and less. (I’m talking in generalities; obviously, Angel’s backstory in Season 2 was a great addition to the mythology, for example.) It puts me in a weird position going into Season 9 of “Buffy” (and the corresponding “Angel & Faith”) from Dark Horse Comics, because with the whole world knowing about vampires and demons and Slayers, it doesn’t feel like those wonderful early days. But on the other hand, I love me some “Buffy” characters like never before.