IN WHICH The Girl Remembers a Hero

It’s Thursday, and that means throwback pictures of childhood adventures are circulating social media by the dozen. I have decided to take a slightly different track: throwback television. Today, we will discuss Buffy the Vampire Slayer. Everyone has comfort foods. Well, my television comfort food is Buffy. She’s a kick-ass girly-girl fighting Big Bads with an odd assortment of friends. Love it.

The focus today, however, will be on Buffy’s heroic journey. You may have studied the hero’s journey, developed by Joseph Campbell in The Hero with a Thousand Faces (1973), back in grade school. Campbell developed a monomyth of the hero – the idea that heroes from every era and culture share similar characteristics and develop their greatness though a series of parallel stages. The usual class will follow the path of Moses or Prometheus (or even Star Wars), but I always choose Buffy. I have done this presentation in class before with varied results (heavily influenced by this article). Most of my students are too young to really remember Buffy (“Wasn’t that on in like the 90’s??”), but there are always a few who have watched it on Netflix and enjoy it. They ALL think I’m a dork, and it’s true. But she's a hero, you see.

Stage 1: Separation/Departure

      The hero starts in an ordinary world, say a nice normal high school. The hero is called to become a hero, but he or she usually resists the call at first. Buffy’s first call actually happens in the 1992 movie with Luke Perry (I thought he was so dreamy as a child). 

Let’s focus on the television show though. Buffy receives the call again when she arrives in Sunnydale. She's just as unhappy about it the second time around.

Eventually the chosen one gives in, and receives some form of aid from a mentor. Buffy has a Watcher, named Giles, who serves as her mentor throughout the series. He’s part of the Watcher’s Council, a group that has trained and assisted slayers throughout history, though both him and Buffy eventually break away from the stuffy old council. He’s a lovable British dude who tries to keep Buffy and her Scooby Gang - her other helpers Xander and Willow - focused on the task at hand.

The chosen one crosses the first threshold, which is the first task of the hero, taking him or her from the normal world to the unknown land of danger and adventure. There could be a number of first tasks for Buffy, such as first killing a vampire in the movie, but for the show her first Big Bad is the Master, a very old and gross vampire who wants to open the Hellmouth below Sunnydale and take over the world. He’s also, incidentally, prophesied to kill Buffy.

Lastly in Stage 1, the chosen one must enter the belly of the whale, in which he or she usually faces an abyss – a dark night of the soul – and then a rebirth as a full blown hero. Buffy, understandably, quails at the idea of dying at 16, her abyss. She fights the Master, who actually does kill her, but Xander brings her back to life through CPR, the first of several rebirths for Buffy. Buffy, of course, then goes on to kick the Master’s ass. After this experience, Buffy becomes a little darker but more dedicated to her mission.

Stage 2: Initiation

The hero embarks on his or her quest, enduring many trials. I.e. Buffy fights a lot of vampires, demons, robots and even other slayers to protect us poor, vulnerable humans. Hiyahh!

The male hero usually meets the goddess who fosters love and inspiration in the hero. He also faces a woman who tempts him with lust and is a dangerous shadow figure. But Joss Whedon doesn't stick with those stuffy, old archetypes and flips everything around. Angel, Buffy’s vampire-with-a-soul boyfriend, fulfills all of these roles for our hero. She falls in love with Angel, but when they have sex for the first time, he loses his soul and becomes evil. Now if that’s not a lesson to all young girls about men, then I don’t know what is. Sadly, Buffy must kill Angel, performing a hero’s sacrifice for the good of the world. Don’t worry, he comes back later though. This is a supernatural world, after all.

Next comes atonement with a father figure or powerful force of life and death. There are a few possible options here. Buffy’s mother dies during this period, forcing Buffy to make peace with both her mother and her death. Giles also feels out of place as Buffy ages, sometimes feeling unnecessary and at other times feeling like she depends on him too much. Most of this tension comes in the next stage of the story, however. My choice of “father figure” is the First Slayer, who gives birth to Buffy’s superhuman qualities. In addition, she inspires Buffy to learn about the slayer’s history and forces Buffy to re-examine her role as a hero. She explains to our weary hero that she is still capable of love: "Love is pain, and the Slayer forges strength from pain. Love, give, forgive. Risk the pain; it is your nature. Love will bring you your gift." Oh and what is that gift? “Death is your gift.” Cheery.

At the end of this stage, the hero faces his or her ultimate challenge, usually victory over death. As a result, he or she is awarded some form of apotheosis – a heroic vacation where the he or she can rest in peace - and a reward. At the end of Season 5, Buffy fights an actual god, Glory, who opens a portal to a hell dimension that will bring all sorts of beasties into the world. Only one thing will close the dimension: Summers’ blood, meaning either Buffy or her sister must die. Buffy makes the ultimate sacrifice and gives up her life for the sake of humanity – death really is her gift. As a reward, Buffy goes to heaven. Now, if only her friends knew that.

Stage 3: The Return

After a nice rest, the hero returns home from the apotheosis and vanquishes evil. Most heroes resist the return, wanting to stay in their peaceful place forever, because who wouldn't? He or she is pursued by enemies on the return who must be killed. Thinking Buffy has ended up in a hell dimension, her friends bring her back to life with magic. Obviously, she is a little confused by the circumstances and wishes to be back in heaven. A demon also hitches a ride on her return, and Buffy must defeat it in her perplexed state.

After his or her return, the hero needs help adjusting to the new world and facing reality. Knowing the Scooby Gang brought her back out of love, Buffy refuses to tell them about her sojourn into heaven. She feels isolated from her besties and some resentment as well. Therefore, Buffy turns to Spike, a previous Big Bad who has become a reluctant ally to the slayer. He helps her in all sorts of ways - boom chica wah wah – starting a fairly messed up but entertaining relationship of fighting and sex. Eventually, the hero comes to terms with the return and becomes a master of two worlds, stronger than ever. Despite Season 6’s depressing tone, Buffy does eventually adjust to reality, accepting that she’s not entirely human any more, and continues to fight the good fight.

Ultimately, the hero ends his or her quest and obtains the freedom to live a peaceful life. Buffy fights one last apocalyptic Big Bad by creating more vampire slayers. After the slayers defeat the “first evil,” Buffy is no longer solely responsible for protecting the world and can do as she pleases. The series ends with Buffy smiling as the Scooby Gang discusses all the things they don't need to do tomorrow.

For anyone who is paying attention to details, this was a simplified and not necessarily perfect version of the hero’s journey. For more accurate descriptions, try this thing called a library. 

IN WHICH The Girl Falls In Love With a Paperman

By day (and often night), I work as a college English instructor, mainly teaching composition. Last semester, I was looking for a video to show in class that the students could analyze together in preparation for writing a film analysis paper. Usually I would use a television episode, but I knew there wouldn't be enough class time for a whole episode this time around. I went looking online for a short film to use instead.

Personally, my knowledge of short films is pretty limited, as I would guess it is for most people. We seldom see them in theaters unless you happen to go to the rare children's movie that shows one before the feature starts. Television does not show them often either. So, unless you go looking for short films specifically, the opportunities to see them are scarce. However, I found out that a lot of wonderful short films are available on the Youtube and other websites. For the purposes of my class, I wanted an animated short film that wasn't too childish. I ended up with a wonderful 7 minute film called Paperman. 

Paperman is quirky and adorable. The story follows George, an accountant in 1940's New York City, who meets a beautiful girl, Meg, at the train station when one of his business papers blows into her face, leaving her red lipstick on the page. Unfortunately, she boards the train before he can make her acquaintance. When George arrives at work, he happens to see Meg through the window in the office building across the street and tries, through hundreds of paper airplanes thrown at the window, to get her attention. No luck. Already in trouble at work, George makes one last attempt by forming an airplane out of the sheet with Meg's lipstick. The wind sweeps the paper away before he can even throw the last airplane, and George leaves work feeling defeated. But this is a Disney film, so both magic and fate intervene. The paper airplanes, led by the lipstick sheet, come alive and pull the two protagonists together. See for yourself:

Paperman by videobash

Beyond the cute story, I love that Paperman has an old-fashioned feel but is mixed with some modern elements. Everything is in black and white, which seems appropriate to the era, but the lipstick is red, drawing your attention and foreshadowing the paper's significance. According to what I've read (and barely understand), the animation is a mix of 2D drawings and 3D computer animation, which gives the film a more traditional look but with modern movement. Paperman also initially seems like a silent film because no one speaks. Nonetheless, you can actually hear sounds, such as the train, the papers swishing, and cars honking. In actuality, there isn't really any need for talking in this film. George's job requires him to work silently and he never gets a chance to speak to Meg. The film seems both black and white and silent without completely succumbing to those traditional elements.

The music really steals the show though. At first the music is light and in the background, but corresponds directly to George's mood. As the plot reaches its climax and the paper airplanes gain life, the music also gains momentum. The tune becomes happier and almost motivational. From the music alone, we know that George and Meg will meet again soon. The film also uses a mickey-mousing technique (look I actually learned something when I taught film); it is a Disney film after all. Mickey-mousing means that the music and the actions on screen are synchronized, just like in old Mickey Mouse films. When the planes start to come to life in the alley, the music parallels their actions precisely. This musical action adds another whimsical and traditional element to a lovable film. 

Now, I just need to go out and watch some more short films to expand my horizons.

IN WHICH We Are Introduced

Winnie-the-Pooh by A.A. Milne

A.A. Milne starts his story collection, Winnie-the-Pooh, off with a dedication reading:

Hand in hand we come

      Christopher Robin and I

To lay this book in your lap.

          Say you're surprised?

          Say you like it?

          Say it's just what you wanted?

               Because it's yours - 

               Because we love you.

So here I am - not the wordsmith A.A. Milne or even the delightful, knowledgeable Christopher Robin - but the Winnie-the-Pooh of this blog. I present my lines to you, nonetheless, and I hope of all hopes that you like them.

Why the Winnie-the-Pooh theme? How old are you anyways? Good questions. I was at my childhood home last Christmas, because, at least in years, I am considered an adult now, and I found a very old hardback copy of Winnie-the-Pooh hiding on a bookshelf. While I have always loved Winnie-the-Pooh, it had been quite some time since I had sat down and read the stories. I was delighted again by the rambling adventures of a naive but inquisitive "bear of little brain." Pooh constantly investigates the world around him. He searches out the source of honey, he hunts down mysterious Woozles and Heffalumps, and even tries to find the North Pole. Despite his best efforts, his adventures are usually undermined by his own actions, often his desire for food, which I can understand. Pooh, however, never gets upset about his own shortcomings, often acknowledging his lack of brains, and continues along his merry way. He joyfully travels about the Hundred Acre Wood singing songs, making up poems, and meeting up with his ragtag group of friends. 

Side note: If you've never read the Tao of Pooh by Benjamin Hoff, I highly recommend you check out his description of Winnie-the-Pooh as the exemplary Western Taoist who is in tune with nature and just goes with the flow of life.

Well that sounds wonderful, but what does it have to do with this blog? As you can see, just like Pooh, I get a little off track sometimes. While reading, I started to identify with the little bear. Like him, my head is often in the clouds, I get excited by ridiculous things, I love poetry, I often lack common sense, and I tend to take life in stride without getting too stressed. 

Therefore, in the manner of A.A. Milne, I plan to share my adventures of the mind with you. These adventures will mainly consist of mutterings about stories of all kinds, both written and filmed; I'm an English teacher after all. However, don't be surprised if I meander off topic. Sometimes when you plan to go to Piglet's house, you end up at the bee tree. 

Say it's just what you wanted?