By Rhonda V. Wilcox
Even supposing tv is usually appeared down upon, Wilcox, one editor of Slayage, the net magazine dedicated to Buffy the Vampire Slayer, provides a compelling argument for it as an artwork shape as important of admire and acknowledgment as movie or literature. She furthers her argument through the use of Joss Whedon's iconic exhibit as a salient instance, drawing at the intensity of the characters, the symbolism within the express, and the numerous real-world commentaries that permeate its narrative. the 1st 1/2 the publication bargains with every little thing from the importance of the characters' names in terms of their identities to parallels among Buffy and the Harry Potter saga, whereas the second one part bargains special analyses of 7 of Buffy's best, most complicated episodes, together with those that care for the lack of Buffy's virginity and the just about fullyyt silent episode "Hush." The library of scholarly Buffy titles keeps to develop, with Wilcox's considerate, available quantity an honorable addition to it.
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16 And when Buffy complains of hearing “riddles” (as, of course, the hero often must), Faith, still bathed in light, replies “It’s my head—lotta new stuff ”: she has absorbed new truth. We see, fading in and out, first an image of Faith lying in her hospital bed, and then, moments later in Buffy’s hands, the bloody knife with which she stabbed Faith. While the images shift, Faith quietly says, “Scar tissue. It fades. It all fades [and here the knife fades in and out]. Want to know the deal? Human weakness.
Human weakness. ” The scars, the pain, can be lived through; and if one accepts one’s human weakness—one’s dark side—one will be ready to face the test.
As Buffy says, “I told one lie. ” And Giles replies, “Yes, and you were very nearly devoured by a giant demon snake. 14) makes the social symbolism eloquently clear. In the second season, Buffy’s confrontation of the shift from adolescence to adulthood focuses on sexuality. Like the first episode, “Surprise” begins with Buffy having nightmares, this time before she wakes up on her seventeenth birthday. ” and drops and breaks a cup and saucer. Buffy’s dreams are sometimes prophetic, and later in her waking hours this cup-dropping scene is played out in the context of her asking permission to get her driver’s license, but the question of her readiness also relates to her having sex with Angel (see Chapter 7).