Ch-ch-ch-changes
Jul. 18th, 2005 06:04 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
hazelkIn which one thought becomes another
Some of the first stories told to young children involve transformations. The caterpillar becomes a butterfly, the ugly duckling a swan and Cinderella goes to the ball. In adolescence such optimism is often rejected as naïve and the grotesque metamorphoses of horror movies find more favour. The changes that produce a potential superhero, a Spiderman or a Buffy the Vampire Slayer, lie somewhere between these two extremes.
In BtVS the title character is not the only one changed. Angel loses his soul, the Mayor becomes a big snake, Ben is Glory or is Glory Ben, Willow goes from crayon-breaky to scary-veiny and the villain to end all villains is a compulsive shapeshifter with half-baked fleshly aspirations. As the series progresses, these transformations act as metaphors for Buffy’s emotional and intellectual development.
The horror!
Joss Whedon has several times singled out the S2 episode Innocence, in which Angel loses his soul, as the point at which his perception of the series changed. However, the specific transformation Angel goes through on the show is not so groundbreaking. BtVS began as a subversion of a horror movie convention, the blonde girl in the alley and here it reverts to type. As in so many horror stories, an ill-advised decision has unexpectedly dire consequences that reveal the monstrosity that lurks within. Angel might have avoided all this had he been a good boy and stayed chaste but a connection between sex and monsters is practically hard wired into the horror genre.
Neither Angel nor most of the other demonic entities encountered during the first two seasons have any real choice about becoming monsters. This lack of agency reflects adolescent fears about lacking control and at this early stage of her journey Buffy too appears to be the victim of her calling. She chooses to accept it in Prophecy Girl but prophecy proves misleading and her choice though heroic has the opposite effect from that intended. In Becoming II she again makes a choice but under circumstances where any other would be both unthinkable and probably futile. Still the monster unleashed by her awakening sexuality has been overcome and in the next season she seems ready to move on from those particular issues.
Plus ca change.
Beneath his conformist exterior Richard Wilkins III is actually quite a revolutionary character. Unlike the previous vampire big bads, evil isn’t a default state for him, it’s a conscious choice. He hasn’t lost his soul, he’s sold it. A second interesting feature is the retention of the human ‘weakness’ that ultimately proves his downfall. This contrasts with previous statements about demons, particularly vampires, having nothing of the original human left in them. Both the element of choice and the humanising of the villain are themes that resonate with the Buffy/Faith storyline. For much of the S3 Buffy seems almost a spectator while her shadow self, Faith, gets to make a series of bad choices that everyone suffers the consequences of. We never really get to see the back story on why the Mayor went evil but the reasons for Faith’s descent are both clearly laid out and not unsympathetic. There but for the grace of god… And so Buffy chooses not to go. It’s a rational decision and in the following two seasons her growth is intellectual as well as emotional.
Reductio ad absurdum
Adam is literally many things. Human, demon, machine, all broken down into their constituent parts and reassembled. To defeat him Buffy and her friends also undergo a chimeric transformation with the hand, heart, mind, spirit spell. Intellectually this could be seen as a metaphor for reductionism, the scientific method to which Buffy, as a freshman college student, should be having her mind opened. But it’s not enough. Adam loses because combo-Buffy turns out to be more than the sum of her parts and the true source of her power is unknowable to him.
Death or cake?
Glory is a god. Presto, changeo and she’s also Ben. If S4 were scientific, S5 is religious and it’s a dualist religion, a Manichaean heresy writ large. Everywhere there are choices, one thing or the other. Ben or Glory, man or monster, demon or daughter, Suave!Xander or feckless loser, mission or mission’s boyfriend, girl or robot, hero or someone like us, my sister or the key to destroying the universe. All leading up to the big one, kill my sister or let the world go to hell. With a final flash of insight Buffy does neither and with her death shatters the mirror of false binary thinking.
Nothing is real
Or does she? S6 is full of wannabe transformations that turn out to be illusory starting with the resurrection, which devalues Buffy’s great sacrifice. The musical episode demonstrates that nothing is what it seems or that nobody’s saying what they mean, since they generally sing something quite different. And although choices are now manifold, Stupid!Buffy, Freak!Buffy, Bored!Buffy, cheating Drunk!Buffy none are worthwhile. In this social constructionist nightmare the least glamorous possible reading of reality seems inescapable. Wrong is a deep tropical subcellular tan, heaven a lunatic asylum, Willow’s a junkie, Xander his father’s son, Spike a failed rapist and Warren a loser who can’t even shoot straight.
Towards the end of the season, however, some hope that things can really change reappears. Both Spike and Anya undergo genuine transformations that they consciously choose, Spike to get his soul back and Anya to become a vengeance demon. Both decisions arguably reflect a desire to recapture past glory rather than to move forward and there’s a similar nostalgic tinge to Buffy’s final epiphanies in Normal Again and Grave. Not for nothing is the last season described as ‘Back to the Beginning.’
Make your choice
In the beginning was the girl. The girl who became the first Slayer. In the episode Get it Done we see that the girl was changed by violation, a forced transformation.
The last Big Bad was also the First and change is what it does its shapeshifting best at. Now, hankering after corporeality, it desires an end to all change but this objective is not made clear until the final few episodes. For much of the season it looks as if Buffy is the one who wants to maintain the status quo. So in Chosen everything flips. And in the final act of transformation the Slayers are not forced, but choose to change their destiny.
Some of the first stories told to young children involve transformations. The caterpillar becomes a butterfly, the ugly duckling a swan and Cinderella goes to the ball. In adolescence such optimism is often rejected as naïve and the grotesque metamorphoses of horror movies find more favour. The changes that produce a potential superhero, a Spiderman or a Buffy the Vampire Slayer, lie somewhere between these two extremes.
In BtVS the title character is not the only one changed. Angel loses his soul, the Mayor becomes a big snake, Ben is Glory or is Glory Ben, Willow goes from crayon-breaky to scary-veiny and the villain to end all villains is a compulsive shapeshifter with half-baked fleshly aspirations. As the series progresses, these transformations act as metaphors for Buffy’s emotional and intellectual development.
The horror!
Joss Whedon has several times singled out the S2 episode Innocence, in which Angel loses his soul, as the point at which his perception of the series changed. However, the specific transformation Angel goes through on the show is not so groundbreaking. BtVS began as a subversion of a horror movie convention, the blonde girl in the alley and here it reverts to type. As in so many horror stories, an ill-advised decision has unexpectedly dire consequences that reveal the monstrosity that lurks within. Angel might have avoided all this had he been a good boy and stayed chaste but a connection between sex and monsters is practically hard wired into the horror genre.
Neither Angel nor most of the other demonic entities encountered during the first two seasons have any real choice about becoming monsters. This lack of agency reflects adolescent fears about lacking control and at this early stage of her journey Buffy too appears to be the victim of her calling. She chooses to accept it in Prophecy Girl but prophecy proves misleading and her choice though heroic has the opposite effect from that intended. In Becoming II she again makes a choice but under circumstances where any other would be both unthinkable and probably futile. Still the monster unleashed by her awakening sexuality has been overcome and in the next season she seems ready to move on from those particular issues.
Plus ca change.
Beneath his conformist exterior Richard Wilkins III is actually quite a revolutionary character. Unlike the previous vampire big bads, evil isn’t a default state for him, it’s a conscious choice. He hasn’t lost his soul, he’s sold it. A second interesting feature is the retention of the human ‘weakness’ that ultimately proves his downfall. This contrasts with previous statements about demons, particularly vampires, having nothing of the original human left in them. Both the element of choice and the humanising of the villain are themes that resonate with the Buffy/Faith storyline. For much of the S3 Buffy seems almost a spectator while her shadow self, Faith, gets to make a series of bad choices that everyone suffers the consequences of. We never really get to see the back story on why the Mayor went evil but the reasons for Faith’s descent are both clearly laid out and not unsympathetic. There but for the grace of god… And so Buffy chooses not to go. It’s a rational decision and in the following two seasons her growth is intellectual as well as emotional.
Reductio ad absurdum
Adam is literally many things. Human, demon, machine, all broken down into their constituent parts and reassembled. To defeat him Buffy and her friends also undergo a chimeric transformation with the hand, heart, mind, spirit spell. Intellectually this could be seen as a metaphor for reductionism, the scientific method to which Buffy, as a freshman college student, should be having her mind opened. But it’s not enough. Adam loses because combo-Buffy turns out to be more than the sum of her parts and the true source of her power is unknowable to him.
Death or cake?
Glory is a god. Presto, changeo and she’s also Ben. If S4 were scientific, S5 is religious and it’s a dualist religion, a Manichaean heresy writ large. Everywhere there are choices, one thing or the other. Ben or Glory, man or monster, demon or daughter, Suave!Xander or feckless loser, mission or mission’s boyfriend, girl or robot, hero or someone like us, my sister or the key to destroying the universe. All leading up to the big one, kill my sister or let the world go to hell. With a final flash of insight Buffy does neither and with her death shatters the mirror of false binary thinking.
Nothing is real
Or does she? S6 is full of wannabe transformations that turn out to be illusory starting with the resurrection, which devalues Buffy’s great sacrifice. The musical episode demonstrates that nothing is what it seems or that nobody’s saying what they mean, since they generally sing something quite different. And although choices are now manifold, Stupid!Buffy, Freak!Buffy, Bored!Buffy, cheating Drunk!Buffy none are worthwhile. In this social constructionist nightmare the least glamorous possible reading of reality seems inescapable. Wrong is a deep tropical subcellular tan, heaven a lunatic asylum, Willow’s a junkie, Xander his father’s son, Spike a failed rapist and Warren a loser who can’t even shoot straight.
Towards the end of the season, however, some hope that things can really change reappears. Both Spike and Anya undergo genuine transformations that they consciously choose, Spike to get his soul back and Anya to become a vengeance demon. Both decisions arguably reflect a desire to recapture past glory rather than to move forward and there’s a similar nostalgic tinge to Buffy’s final epiphanies in Normal Again and Grave. Not for nothing is the last season described as ‘Back to the Beginning.’
Make your choice
In the beginning was the girl. The girl who became the first Slayer. In the episode Get it Done we see that the girl was changed by violation, a forced transformation.
The last Big Bad was also the First and change is what it does its shapeshifting best at. Now, hankering after corporeality, it desires an end to all change but this objective is not made clear until the final few episodes. For much of the season it looks as if Buffy is the one who wants to maintain the status quo. So in Chosen everything flips. And in the final act of transformation the Slayers are not forced, but choose to change their destiny.
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no subject
Date: 2005-07-18 06:55 pm (UTC)no subject
Date: 2005-07-19 05:38 pm (UTC)no subject
Date: 2005-07-18 08:50 pm (UTC)no subject
Date: 2005-07-19 05:38 pm (UTC)no subject
Date: 2005-07-18 09:22 pm (UTC)All I can do now is add this post to memories (er, if it works...) and hope I remember to come back to it later.
no subject
Date: 2005-07-19 05:59 pm (UTC)no subject
Date: 2005-07-19 08:26 am (UTC)no subject
Date: 2005-07-19 06:01 pm (UTC)no subject
Date: 2005-07-19 12:43 pm (UTC)Thank you so much.
no subject
Date: 2005-07-19 06:02 pm (UTC)no subject
Date: 2005-07-19 03:44 pm (UTC)Rejecting false dichotomies is practically my life's work, and I can't believe this view of S4 never occurred to me. Nice.
no subject
Date: 2005-07-19 06:03 pm (UTC)no subject
Date: 2005-07-20 01:10 pm (UTC)Thank *you*!
(Clearly, I meant S5. Oops.)
no subject
Date: 2005-07-19 04:25 pm (UTC)That's a really interesting point (not that the others weren't :>) I guess I always thought of change as more a way of maintaining a balance and wasn't thinking of it in the transformative sense. I like how you've applied that theme here though.
no subject
Date: 2005-07-19 06:33 pm (UTC)no subject
Date: 2005-07-19 10:55 pm (UTC)In Becoming II she again makes a choice but under circumstances where any other would be both unthinkable and probably futile.
That's true... and yet, there are counter examples throughout the series where characters don't make that choice. Or look for the way out. In that very episode, Spike does when he walks out leaving Buffy to die. (And presumably, the world to go to hell.) I think the point of showing that scene with Spike seeing Buffy at the mercy of Angelus is to point out that walking out on the world is still unthinkable to Buffy - the hero - whereas it is the option of choice for the Villain. Metaphorically speaking anyway - it comes back again, and it's not always unthinkable.
For example, the conflicting reactions to "The Gift". There's the question of what Buffy would have done had she lacked the option to jump off the tower. Would she have, in that moment, sacrfice Dawn for the good of the world (and all those other Dawns in it) as she once did Angel. Or would she refuse? How having to make that choice changes our ability to make it again. How it changes a loving person - because it's critical to note that Buffy makes her decision in S2 while full of love.
As obvious as the hard but correct choice is, there are still examples of characters that can't make it. Because it woul
no subject
Date: 2005-07-20 05:29 am (UTC)I wouldn’t fundamentally disagree with a word you say about Buffy’s actions in Becoming II. Where a lesser person might have hesitated (and she does hesitate in Innocence when the stakes seem lower and the possibility that the curse be re-instated still exists) she does what she has to do without holding back and with considerable grace. I suppose the argument I was trying to make relates more to adolescent perception of lack of agency. The story is told with a great sense of tragic inevitability, so that although rationally the situation does require a choice it doesn’t, for me watching, feel that way.
In relation to The Gift I think the point about false dichotomies may apply. In both cases the choices appear to be kill your child/lover or let the world die in agony but in both cases there is a third option, which is to let your child/lover choose to sacrifice themselves. We see Dawn being prepared to do this but we’re not actually shown Angel signaling with his eyes (although I had no doubt he would have done).
no subject
Date: 2005-07-19 10:57 pm (UTC)Very much enjoyed this essay.
no subject
Date: 2005-07-20 06:08 am (UTC)The final statement does oversimplify things in the interests of brevity and I do understand people’s reservations about the series. In terms of the specific point I’m going for here I do, however, think there’s a significant difference, a change if you like, between the activation we see in Chosen and being chained to the earth and ‘violated.’ The difference between not being and asked being asked and saying no. Still, that’s a point about the culpability of the perpetrator rather than how things are for the victim.
In more general terms, and I’m sure you’ve heard these arguments but for completeness:-
1) We don’t know how the activation spell works but given the words spoken over the montage what we see is a series of girls feeling the power and then some, but not all, choosing to accept and act on it.
2) The existence of multiple Slayers removes the onus on any one individual to take up her calling.
3) The real choice is about what to do with the power, you either have it or you don’t either way there’s no choice about that. In the past potential Slayers would have had the dreams but, apart from one in each generation, not had the power to act on them. As Anya put it, short brutal life or unfulfilled potential. By analogy, American women don’t have a choice about the right to a university education but everyone with the academic ability to benefit from one can choose whether or not to do so, peer or parental pressure notwithstanding.
no subject
Date: 2005-07-21 03:39 am (UTC)1)...a series of girls feeling the power and then some, but not all, choosing to accept and act on it.
Don't mean to be argumentative, but which ones did you see choosing not to act on it? I just saw all the potentials being imbued with slayer strength and power.
Also, it's been said several times in the series, that vampires can "sense" the Slayer, so even those choosing not to accept or act on their power would still be targets for vampires out to bag themselves a slayer.
2) Very true, but that removes the onus from Buffy, and puts it on many young girls that would not have otherwise been called via the "one girl in all the world" method.
3) Do potential slayers have the dreams? I don't remember that ever being said. I thought the dreams only came when one was called. I don't believe Buffy (as an unidentified potential) ever had the dreams. It was only after she was activated as a slayer that the dreams appeared. And in Damage, it was shown that Dana never had Slayer dreams until she was activated by Willow's spell. At that point in time, she got the Slayer dreams, and they mixed up in her broken mind with the memories of abuse she had suffered as a child. She filtered the dreams of other slayers through her mental illness, until she thought those things had been done to her, making her extra-crazy, but now with slayer-strength.
As I've mentioned before, excellent thought-provoking essay. I enjoyed reading it; it's well thought out, and we just disagree on the effects of the activation spell, which doesn't seem to me any different than the activation of Buffy, except that she did it to a lot of girls, who otherwise could have lived normal lives . . . the one thing she claimed to always want.
no subject
Date: 2005-07-21 12:45 pm (UTC)1) We see one set of girls feeling the power and a different set accepting it. We don’t see any of them rejecting it but ‘however many black crows you see doesn’t prove that white crows don’t exist.’ We don’t see any of the girls having black demony power forcibly enter them either. I would say either interpretation of the spell is still tenable. To be honest I find the idea that the choice is not about the power itself but the options with respect to using it more interesting. As for slayer bagging this seems to be a sport that only the stupidly foolhardy (aka young Spike) go in for. More often demons seem to be either pissed or scared off if a Slayer turns up.
2) Wouldn’t Buffy and all the new Slayers be equivalent in terms of onus? When Buffy was called if she decided not to accept it there would be no Slayer. That that’s no longer the case allows any one girl to either reject the calling or to take it up on a part time basis. In the same way that Buffy realised she could drop out when Kendra turned up or take time off to go to NorthWestern when Faith was around and active.
3) In Damage Andrew and Wesley have this exchange:
ANDREW: Yes, attractive, slender woman. There are many potentials, as we experts call them.
WESLEY: Hundreds...maybe thousands per generation.
ANDREW: Each of them experiencing vivid dreams... some say nightmares... of the heroics of past slayers. But only one can be chosen.
Which neither Wesley nor anyone else corrects him on. Dana was catatonic until she was called. My assumption, given the above exchange, was that Slayer-strength had cured her catatonia thereby allowing her to express her response to the dreams/memories. Other than that I can’t recall potentials having dreams or not ever coming up.
I think we also probably differ on Buffy’s desire for a ‘normal’ life, which might explain a lot. As ever this is just my personal interpretation of things but I thought her complaints about not being normal ceased around S4/5 as she began to find her ‘normal life’ (looking after Dawn etc) if anything more problematic than her supernatural responsibilities. Which is not to say that those responsibilities weren’t onerous, particularly as they had to be taken on alone.
no subject
Date: 2005-07-20 12:20 am (UTC)I think, though, that the retcon for "Who sired Spike?" is crucial--Angel(us) made Spike not a vampire but a monster (...and Buffy treats him like a man....) Both Angel and Spike behaved far, far worse than they needed to be to play out their hands as vampires. Harmony, for example, is an Earthy Mostly Harmless for most of her post-Sunnydale career; James and Elizabeth are pretty much just trying to get by, and Holden is at least as good a therapist as the one in the "Normal Again" loony-bin.
The icon, BTW is Blakes7: Blake/Avon: slash Spuffy (and vice versa)!
no subject
Date: 2005-07-20 06:25 am (UTC)The icon, BTW is Blakes7: Blake/Avon: slash Spuffy (and vice versa)!
Do they sing?
Sorta Like Chicken
Date: 2005-07-20 12:04 pm (UTC)Am curious Orange
Date: 2005-07-20 05:44 pm (UTC)Re: Am curious Orange
Date: 2005-07-20 10:39 pm (UTC)no subject
Date: 2005-07-20 01:41 am (UTC)I liked this essay; it's very astute. I'd also quibble, like the others, that only 30 slayers got the choice, but the rest of the world didn't. But the rest fits, as does Buffy's cookie dough speech. She's not done yet, she doesn't know where she's headed, and the last shot we have of the series is of the gang facing an open road. So I guess the message we're meant to take is that we make our own choice, our own changes, our own destinies. Although, if there had been an S8, we might have seen the consequences of the gang's decision, and so on.
no subject
Date: 2005-07-20 06:31 am (UTC)I loved that open road shot. And yes who knows what would have happened. Although I guess that was kinda the point.
no subject
Date: 2005-07-20 12:06 pm (UTC)I continue to be confounded by the argument that the Empowerment Spell was a violation of the young girls' futures. Buffy didn't march around the world singling out girls and handing them wooden stakes. She unlocked something that was already inside the girls, something they did not realize they had because of exterior restrictions.
no subject
Date: 2005-07-20 05:35 pm (UTC)