Narrative_in_Buffy

Throughout much narrative history the action hero has been male and largely operates as an individual – Tarzan, Indiana Jones, James Bond etc. The action hero embodies qualities of strength, bravery, ingenuity and individual self-reliance. It is my contention that Buffy the Vampire Slayer rewrites these conventions, not merely in terms of gender but that the group dynamic that propels the narrative of the series modifies the masculine self-reliance that is more traditional. I want to look at this specifically in relation to the ‘musical episode ‘Once More With Feeling’ Joss Whedon, the creator and show-runner, is a feminist. As well as re-gendering the action hero as female, he situates her amongst a group of helpers that play particular roles in defeating the villain of the week, or season. Given that the villain here is a ‘Dancing Demon’ that forces the inhabitants of Sunnydale to sing and dance in order to express their emotions, often against their will – many of the secrets that the ‘soapier’ relationship aspects of the series are concerned with, reveal themselves to both characters and audience. The series of emotional revelations uncloak feelings about the nature of the characters’ feelings about their roles as part of the demon-defeating ‘scoobies’ and as human beings seeking their own pathway through life. I will focus mainly on the aspects that relate specifically to aspects of the action hero. Buffy affirms in the opening ‘number’ that she is ‘sleepwalking through her life’s endeavor’ – never gaining affirmation or satisfaction from her dispatch of demons and vampires – she performs the actions of a hero but does not feel heroic, she is ‘going through the motions’. Her feelings about her calling are matched by her feeling about her love-life – the show often parallels horror/action plots with romantic/life themes – exploring through the metaphor of horror. Currently she has no boyfriend – Angel was dispatched to Hell, then Los Angeles , Riley Finn left feeling unloved by Buffy. This episode also marks the beginnings of a romantic subplot with Spike. As the episode develops Buffy affirms her belief in the group dynamic as defeaters of evil ; ‘What can’t we face if we’re together'’ but as the group fragments in the face of cathartic emotional revelations she is left alone : ‘So one by one, they turn from me’ as she walks alone to face the demon. The deep divisions brought about by the revelations through song drive wedges between Xander and Anya, Willow and Tara , Buffy and Giles, Buffy and Spike, making the group dysfunctional and isolating Buffy. Xander is always a supporting character, always being saved by Buffy – in a traditional sense he is feminised by this – he is not considered a warrior, just support and comic relief. ‘When things get rough he – just hides behind his Buffy’ and does not like to be confronted with this by Anya ‘Now look he’s getting huffy ‘cos he knows that it’s true’. These doubts about his masculinity spill over into his relationship with Anya – ‘Is she looking for a pot of gold'’ – mistrusting her. Giles, as Buffy’s ‘watcher’ has decided that he’s sheltering her from life and not letting her develop as a slayer so decides to leave Sunnydale. As another male sometimes caught in the action he is not a fighter, more a father figure – another male that Buffy frequently saves. Spike is different here. As a vampire and not part of the gang he becomes involved because he is attracted to Buffy, after being an enemy in previous seasons. His confusion at his role in the group dynamic as well as his contradictory feelings for Buffy are expressed through the lines ‘I hope she fries, I’m free if that bitch dies (pause, change of tone) I’d better help her out!’ because ‘the torch (he) bears (for her) is scorching (him).’ Because Buffy is ‘brave and kind of righteous’ she can’t back away from a fight – she feels that confronting the demon – though it may result in her death – is a task she can’t back down from – perhaps real danger and possible death will make her feel again – since her ‘death’ at the end of Season 5 she has been building up to the feelings of ennui and desensitization she is now expressing. The villain, Sweet, is on the point of defeating Buffy – she will burst into flames if she continues dancing, Whedon’s heroes always try but sometimes do not succeed, they are flawed – when ironically she is saved by Spike, – first he saves her then he kisses her. The battle is done and ‘they kind of won’ but sound a hollow victory cheer – every battle on every level has been both destructive and revelatory. And the narrative, rather than providing resolution, opens the question – applicable to all relationships within the narrative: ‘Where Do We Go From Here'’