One of the best ideas I've seen from Dark Horse's Buffy comics is the Tales of the Slayers, stories of slayers who don't have to worry about TV continuity and who can exist throughout the ages. This one-shot, while not as solid as the trade paperback that introduced the concept, has a lot to recommend it, including a nifty little tale of time travel and Slayers vs. Nazis, not to mention drop-dead gorgeous artwork by Gene Colan. I'm not quite as enamored of the work of Jeff Matsuda, which sets up the flashback tale, and in fact the whole opening sequence in the present is a little weak, but the actual tale of the past slayer is a great read.
This is a schizophrenic comic, because the two styles couldn't be more different. The opening sequence is light and jokey and very cartoony, almost an animated series take on Buffy. Espenson plays the whole thing up as a goof, making the usual jokes about Principal Snyder and using Buffy and Willow both as sort of half-talented bunglers who manage to save the school despite themselves. Matsuda's artwork reinforces this notion, using a manga/super-deformed style that just doesn't seem to fit the Buffy universe. But then, neither does Espenson's story, as she seems to have forgotten that Snyder has no idea Willow is a witch and Buffy is the slayer, odd for someone who writes for the television show.
Once the jokey and mostly forgettable intro is over, though, the book improves immeasurably. Gene Colan opens the story with a picture perfect rendition of New York City, and Dave Stewart's painted colors are simply gorgeous over it. Colan's artwork doesn't disappoint at any point in the story, as he delivers fantastic storytelling, great monsters and exciting action sequences. The work has the feel of the 1930s, the era in which it is set, and the look he has given this young slayer really defines the character.
Petrie's story is short but sweet, and a great example of the potential in the Tales of the Slayers concept. While he opens with the predictable, establishing the dichotomy of victim vs. slayer that was Joss Whedon's original concept, the story quickly moves into more time-specific territory, pitting a Slayer recruited by the OSS against a Nazi agent. It's a neat idea, and Petrie delivers in fine style, giving the orphan/street kid Slayer an interesting personality and quirks, and providing a fun and paradoxical ending that ties the story back into the opening sequence.
Though this was uneven, I remain hopeful that we'll see more of these Tales of the Slayer, and hopefully with different writers and artists who don't usually have the time to contribute to Buffy, whether they're regulars on the TV series writing staff or big names from within the comics industry with stories to tell.
