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file le Sa mp This page intentionally left blank The Buffyverse Catalog A Complete Guide to Buffy the Vampire Slayer and Angel in Print, Film, Television, Comics, Games and Other Media, 1992 –2010 Sa mp le file DON MACNAUGHTAN McFarland & Company, Inc., Publishers Jefferson, North Carolina, and London OF file LIBRARY CONGRESS CATALOGUING-IN-PUBLICATION DATA mp le Macnaughtan, Don. The buffyverse catalog : a complete guide to Buffy the vampire slayer and Angel in print, film, television, comics, games and other media, 1992–2010 / Don Macnaughtan. p. cm. Includes bibliographical references and index. Sa ISBN 978-0-7864-4603-2 softcover : 50# alkaline paper 1. Buffy, the vampire slayer (Television program)— Bibliography. 2. Buffy, the vampire slayer (Motion picture)— Bibliography. 3. Buffy the Vampire Slayer (Fictitious character)— Bibliography. 4. Angel (Television program: 1999–2004)— Bibliography. I. Title. Z7711.M25 2011 [PN1992.77.B84] 016.79145' 72 — dc23 2011027232 BRITISH LIBRARY CATALOGUING DATA ARE AVAILABLE ©2011 Don Macnaughtan. All rights reserved No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying or recording, or by any information storage and retrieval system, without permission in writing from the publisher. Front cover image: shown from left David Boreanaz, Sarah Michelle Gellar, James Marsters in Buffy the Vampire Slayer, ¡997–2003 (WB/Photofest) Manufactured in the United States of America McFarland & Company, Inc., Publishers Box 6¡¡, Je›erson, North Carolina 28640 www.mcfarlandpub.com Sa mp le file To my wife, Marji Acknowledgments sources, and Pnina Moldovano furnished insights into Israeli fan materials. Raymond Bailey tracked down 100 books through interlibrary loan. Lane Community College generously gave me a sabbatical to continue writing and research. Finally, Mary Egan of Mary Egan Ltd. in Auckland cast her exacting critical eye over the manuscript. I would like to acknowledge the pioneering bibliographic work on the Buffyverse carried out by Alysa Hornick, Derek Badman, and Gordon Melton (see Section 23: Bibliographies). In addition, I salute Joss Whedon, and all the producers, directors, writers, actors, critics, novelists, editors, journalists, artists, scholars, reviewers, and fans whose work appears in this book. These many thousands of people have labored since 1992 to establish Buffy and Angel as worthy subjects for thought, inspiration, and reflection. Without their work, this book would not be possible. file Sa mp le A project of this size could not have succeeded without a great deal of help. First and most importantly, I would like to thank my wife, Marji McPherson, for her patience and perseverance over the five years of this project. You were a champ, honey! I would also like to thank my wonderful volunteer team of editors (in alphabetical order): Linda Ackers, Carrol Barton, Andrea Baughman, Mary Baxter, Denise Bernard, Ruth Bichsel, Jeffrey Borrowdale, Terria Burch, Ellen Cantor, Alison Conner, Amy Derby, Daryll Lynne Evans, Jay Frasier, Kendra Gilds, Marni Hancock, Jeff Hanes, Jeff Harrison, Andy Hopkins, Sharon Kimble, James Kiser, Judy McKenzie, Linda McPherson, Patsy Raney, Wendy Simmons, Lance Sparks, Betsy VanderSchaaf, Brad Willett, Toni Willett, Shelley Williams, and Laura Wimberley. Barbara Maio and Francesco Spreafico gave advice on Italian language re- vi Table of Contents Acknowledgments Preface Introduction User’s Guide B. Individual Short Stories C. Foreign Language Editions vi 1 Section 7. Comic Books 3 A. Dark Horse Comics B. IDW Comics C. Other Licensed Comics D. Comic Book Art E. Foreign Language Editions F. Reviews 5 Film DVDs Movie Script Reviews Section 2. Television Episodes Buffy Seasons 1–7 Angel Seasons 1–5 Trailers Undeveloped Productions Reviews Section 3. Television DVD Sets A. North American DVD Sets B. European, Australian and Asian DVD Sets C. Reviews Section 4. Television Scripts A. Published Scripts B. Shooting Script Reprints C. Unpublished Scripts Section 5. Novels A. Buffy and Angel Novels B. Foreign Language Editions C. Reviews Section 6. Short Stories A. Short Story Collections Section 8. Audio 13 14 23 31 31 31 Sa A. B. C. D. E. 10 11 11 11 11 le A. B. C. D. mp Section 1. Buffy the Movie file I. LICENSED (PRIMARY) MATERIALS 37 39 A. Audiobooks B. Soundtrack CDs C. Reviews Section 9. Games A. Board Games B. Card Games C. DVD Game D. Role-Playing Games E. Video Games F. Unpublished Projects G. Reviews Section 10. Fan Magazines A. MVP Official Magazines B. Titan Official Magazines C. Other Genre Fan Magazines D. Celebrity Magazines E. Partworks F. Foreign Language Magazines 41 43 44 45 45 47 48 49 51 56 Section 11. Other Licensed Materials A. Books B. Promotional Posters C. Trading Cards D. Miscellaneous Materials 57 58 vii 58 59 59 62 73 79 79 81 83 85 85 85 87 88 89 89 89 89 90 91 91 92 93 94 103 109 110 111 111 112 113 114 116 viii Table of Contents II. UNLICENSED (SECONDARY) MATERIALS Section 12. Books Section 20. Conference Papers and Reports 122 125 A. Academic Conferences and Symposia B. Conference and Research Papers 125 126 127 Section 13. Essays and Book Chapters Section 21. Derivative Works and Parodies Section 14. Journal Articles 191 192 222 le A. English Language Articles B. Foreign Language Articles Sa mp 222 Section 18. Interviews A. Joss Whedon B. Television Writers and Producers C. Actors D. Television Talk and Comedy Shows E. Other Creators F. Collected Interviews and Panel Discussions 235 A. Art and Graphic Design B. Comic Books and Strips C. Fan Fiction D. Fan Vids E. Live Theatre, Poetry, and Events F. Movies G. Music H. Podcasts and Online Audio I. Scientific and Technical References J. Television file 131 132 133 190 A. Reference Book Articles B. Essays and Book Chapters C. Foreign Language Essays A. Broadcast Segments B. Documentaries C. Reviews A. English Language Dissertations B. Foreign Language Dissertations and Theses 120 120 121 A. General Books B. Essay Collections C. Reference, Companion, and Guide Books D. Biographies of Actors E. Miscellaneous and Special Interest Books F. Foreign Language Books G. Reviews and Review Essays Section 15. Magazine Articles Section 16. News Articles Section 17. Broadcasts and Documentaries Section 19. Dissertations and Theses 262 263 266 267 267 268 272 274 274 275 277 279 279 279 280 280 281 250 250 251 252 Section 22. Websites Section 23. Bibliographies 282 252 253 257 258 Appendix A: Wikipedia Appendix B: Cast and Creators Appendix C: Episode Title Index Index 285 260 261 261 284 292 294 297 Preface see God and the soul at work in the characters and themes. Most see a way to live in the world with bravery, honesty, and integrity. Some gain reinforcement for their existing worldview, while others are deeply challenged. A few, through the journeys of Buffy, Willow or Spike, have experienced a sort of personal epiphany, perhaps finding a tool to heal pain and trauma, or to find acceptance. In the history of television, Buffy occupies a strange and intriguing place. No other TV show has attracted as much intellectual and academic attention. The results of that attention make up a large part of this book. Similarly, media critics loved Buffy. In all the reviews I’ve read, it is rare to find a bad one. Several episodes (“The Body,” “Hush,” and “Once More, with Feeling”) are routinely considered amongst the finest television episodes ever produced. The show always places in the top tier of those ubiquitous “100 Best TV Shows” or “Top 10 Cult TV Shows” that appear in magazines like Entertainment Weekly. At the same time, Buffy never attained a mass following, and was only moderately successful in commercial terms. The show is often labeled as “cult TV,” along with series like The X-Files, Twin Peaks, and Star Trek. There are several important keys to understanding the Buffyverse. First, Buffy resists easy categories and characterization. Second, it rewards deep examination and sustained interpretation. I think fans from the beginning understood this intuitively. They realized that something bigger was going on below the surface. Scholars have used terms like “lami- Sa mp le file On January 19, 2011, I was one of 150 people packed into the public library in downtown Portland, Oregon, for a thirtieth birthday party. The party was for Buffy Summers, a fictional character. There was cake, a rousing chorus of “Happy Birthday,” trivia contests (the star was a 6-year-old girl), and “Hush” Pictionary. The editor of Dark Horse Comics answered questions on the next stage of our hero’s journey and described how Buffy comics had propelled his independent publishing house to the top tier of comic book publishers. Many other parties were organized around the country. Simultaneously, academics were happily planning the fifth International Slayage Conference on the Whedonverses, organized by the Whedon Studies Association, and were preparing to award the Mr. Pointy Award for the best published academic work on Buffy and Joss Whedon. Buffy Summers still exercises a compelling hold over the minds and hearts of thousands of people, from young girls to the most jaded critic. Why would a seemingly simple television show create such a reaction? What depths lie beneath that silly name? What drives critics, scholars, artists, novelists, journalists, television and comic book fans to ponder, with great passion, all that is Buffy the Vampire Slayer? The answers are legion. Fans worldwide bring to Buffy their own set of expectations and desires. Because the show is so layered, subtle, and sophisticated, it seems to meet and satisfy those desires. In Buffy the hero, many see empowerment for girls and women. Others 1 2 Preface Sa and directors have had a major impact on Hollywood. Buffy and Angel launched the careers of dozens of actors. Most succeeded; some faded into semi-obscurity. Whatever their fates, there is a single constant: Buffy or Angel always feature proudly on their résumés. Buffy and Angel, along with Joss Whedon’s other works such as Firefly, Serenity, Dollhouse, and Dr. Horrible, continue to inspire huge enthusiasm. Whedon’s fans are famously loyal, and always ready to respond to the latest rumor. Accordingly, poking Buffy fans with a pointed stick has become a favorite sport amongst Hollywood agents and publicists. This fan enthusiasm has gone into overdrive with the prospect of a new Buffy movie, as well as The Avengers, a high-profile superhero movie directed by Whedon, set for 2012 release. But beyond all the hype and gossip, millions of people from all walks of life hold a deep and abiding love for a strange, enthralling TV show that had the capacity to make them laugh, weep, think, fume, marvel, imagine, write, create; to gasp in wonder and snicker at the silliest pun, sometimes in the same moment. file mp le nated” and “polyvalent” to describe this phenomenon. A simple analogy might be peeling back the layers of an onion. Almost all fans of Buffy and Angel have experienced this feeling that there is much more. This is one of the reasons that academic attention to Buffy has been so extensive, and why the corpus of Buffyverse fan fiction is one of the largest and most imaginative in existence. The show opens up vast spaces for interpretation, reinvention, and reflection. Politically and culturally, appreciation of Buffy is amazingly diverse. Conservatives like Jonah Goldberg of The National Review and Jonathan Last of The Weekly Standard share the same enthusiasm as Gail Collins of The New York Times and Laura Miller of Salon. Columnists from Christianity Today write glowingly about Buffy alongside writers from AfterEllen and The Advocate. Some interpret Buffy as the repudiation of patriarchy and transnational capitalism, while others see the reassertion of personal responsibility, strength, and morality. For a show created by an atheist, there are an amazing number of interpretations based on religion and faith. As Whedon once said: “Bring your own sub-text.” Although Buffy and Angel have disappeared from television, both continue in comic book form, and the creative forces behind them are still producing brilliant work. Creator Joss Whedon has developed a stellar career in movies, television, comics, the web, and as an activist for human and women’s rights. Marti Noxon, Jane Espenson, Tim Minear, Drew Goddard, David Greenwalt, David Fury and many other Buffyverse writers LAST LINES WILLOW: “The First is scrunched so ... what do you think we should do, Buffy?” FAITH: “Yeah, you’re not the one and only Chosen anymore. Just gotta live like a person. How’s that feel?” DAWN : “Yeah, Buffy. What are we going to do now?” Buffy Summers gazes into the future, and smiles.... (Buffy the Vampire Slayer 7.22 “Chosen”) Introduction divide fans and critics. Inevitably, it pales in comparison to its TV descendant, but some have argued that it should be evaluated in its own right as campy, proto-feminist, and enjoyable (Rechtshaffen and Stangl). Headliner Kristy Swanson, despite a creditable performance, never achieved further success. The movie turned out to be the high point of her career. Director Fran Rubel Kuzui sank without trace; her name lives on mainly in the continued disdain of Whedon fans. On the other hand, it revived Paul Reubens’ career with his bravura death scene, and launched Hillary Swank on her path to movie stardom. The movie also boosted the careers of David Arquette, Thomas Jane, Natasha Gregson Wagner, and Stephen Root. Ben Affleck, Ricki Lake, and Seth Green appeared as extras (Internet Movie Database). The writer, Joss Whedon, tucked his disappointment into his back pocket and returned to a career working on movie scripts. He was nominated for an Oscar in 1995 for Toy Story. Oddly, Whedon was not the prime mover behind the television revival of Buffy (Moore). In 1996, producer Gail Berman discovered that Fox had (inexplicably) failed to secure TV rights in the original movie contract (Daniels and Littleton 118). This provided a legal opportunity for Whedon to take the Buffy characters to television. At the time, nobody expected Whedon to give up a lucrative moviewriting career to revive a failed concept, but he decided to take up the challenge. Whedon and Berman pitched the idea to the WB, a fledgling mini-network. WB exec- Sa mp le file Joss Whedon developed the idea for Buffy around 1988, while working as a staff writer on Roseanne. His original concept, oft quoted, came from “seeing too many blondes walking into dark alleyways and being killed. I wanted, just once, for her to fight back when the monster attacked, and kick his ass” (Havens 21). He optioned the script to Sandollar Productions in 1988, and three years later, the producers Kaz and Fran Rubel Kazui picked up the project. Fox funded the movie in return for worldwide distribution rights. The movie was a summer release in 1992. In production, the script was heavily amended by the director, Fran Rubel Kuzui. The result was a shift in tone from what Whedon had envisaged. Instead of Whedon’s concept — a “scary film about an empowered woman” (Havens 23)—the movie devolved into camp comedy. Some of the cast also improvised dialogue (badly), and the shooting was compressed into a frantic 29 days (Backstory), with a tense and unhappy set. Whedon watched helplessly as his idea went awry, and eventually he left the set entirely (Moore). The movie did good business in theaters, returning twice its bare-bones $7million to $8 million budget (Internet Movie Database). Critical reception was lukewarm at the time, with descriptions like “bloodless,” “lifeless,” and “modest” being typical. In the New York Times, Janet Maslin damned it with faint praise, calling it “a slight, good-humored film that’s a lot more painless than might have been expected.” She called Whedon’s script “uneven but bright” (Maslin). The movie continues to 3 4 Introduction Sa Jensen, who championed the new show at Entertainment Weekly. By the end of Season 1, Buffy was on a powerful burn to critical success, although ratings remained low. Fortunately, the WB decided to take a chance, and the show benefited from greatly improved writing, budget and production values in Season 2 (Moore). Nevertheless, the ultimate accolade— a Best Show Emmy—always remained out of reach, a snub that still rankles with some critics. Scholars also began to pay attention. The first articles approaching Buffy from an academic viewpoint appeared in 1998, along with guidebooks from Nancy Holder and Nikki Stafford. In 2001, Reading the Vampire Slayer, the first book-length academic treatment, was published in the UK, followed soon by Fighting the Forces. By this point, Buffy was a full-fledged cultural, critical and popular phenomenon. Angel was spun off in 1999, and earned its own dedicated fanbase and critical success, although it was quite a different show in tone and philosophy. Buffy ended in May 2003, followed by Angel a year later; but the afterlife of the Buffyverse had only just begun. file mp le utive Susanne Daniels bought the series in one meeting. There were many perilous moments in casting, but Whedon persisted, and gradually the core cast of relatively unknown actors began to coalesce: Sarah Michelle Gellar, a teen soap starlet; Nicholas Brendon; Anthony Stewart Head (best known at that point for a coffee commercial); David Boreanaz; and Charisma Carpenter. The pilot episode was rough and barely watchable, and the project seemed close to failure. At the pilot screening, Susanne Daniels pleaded for the show, against some opposition. WB head Jamie Kellner finally agreed, provided that the part of Willow was recast (the role eventually went to Alyson Hannigan). The concept of the Hellmouth was also thoroughly reworked at Kellner’s insistence. In March 1997, Whedon launched Buffy the Vampire Slayer on television. For the first time, he was in charge of his own creative destiny: “As far as I am concerned, the first episode of Buffy was the beginning of my career. It was the first time I told a story from start to finish the way I wanted.” Buffy began promisingly with a wellcrafted publicity campaign from the WB. First reactions from audiences and critics were mixed. Many were expecting the campiness of the movie, and were disconcerted by the darker tone. When I saw the first episodes, I found the approach unexpectedly violent. My wife, who is made of sterner stuff, encouraged me to stick with it, and by the third or fourth episode, I was experiencing a gradual and subtle epiphany. Something was happening here. I remember thinking: “I’d better start taking notes.” Many others had the same idea. People started paying serious attention. Newspaper and magazine critics were among the first to notice Buffy. At a time when the show was little more than a blip on the public consciousness, Buffy captivated journalists such as David Bianculli, Matt Roush, and especially Ken Tucker and Jeff WORKS CITED Backstory: Buffy the Vampire Slayer. Dir. Stacey Dowdy Travis. AMC. Season 3, episode 3. First broadcast 20 May 2002. “Buffy the Vampire Slayer (1992)—Trivia.” Internet Movie Database. Web. Daniels, Susanne, and Cynthia Littleton. Season Finale: The Unexpected Rise and Fall of the WB and UPN. New York: Harper, 2007. Print. Havens, Candace. Joss Whedon: The Genius Behind Buffy. Dallas: BenBella, 2003. Print. Maslin, Janet. “She’s Hunting Vampires, and on a School Night.” New York Times 31 July 1992: C8. Newspaper Source. Web. Moore, Robert. “Joss Whedon 101: Buffy the Vampire Slayer.” PopMatters 8 March 2011. Web. Rechtshaffen, Michael. “Buffy’ll Slay You, Too: Surprisingly, a Quasi-Feminist Hoot.” Financial Post (Toronto) 10 August 1992: S6. LexisNexis Academic. Web. Stangl, Chris. “Rough Draft: The Original of Buffy.” The Exploding Kinetoscope 6 August 2009: n. pag. Web. User’s Guide This book is divided into two major parts: Reviews: There is one exception to this division: reviews are included with the source materials. Reviews of the Buffy movie, TV episodes, DVD sets, novels, comic books, games, and books are included with the appropriate section. I. Licensed (Primary) Materials II. Unlicensed (Secondary) Materials file I. Includes everything officially licensed by the legal license-holders (Fox Television and Mutant Enemy). Another way to look at this section is as “primary” material. It includes all the texts of the Buffyverse: the movie, TV episodes, DVDs, scripts, novels, comic books, CDs, and games. Also included are licensed peripheral materials in print format, such as fan magazines, posters, and trading cards. These are often called collectibles. Non-print collectibles (such as figurines, lunch boxes, Spike puppets, and “Kiss the Librarian” mugs) are not included. However, not all of this primary material is considered “canonical” by fans, who tend to have a more restricted view of what constitutes the basic text of the Buffyverse. According to the extensive Wikipedia article on the subject (“Buffyverse Canon”), the official canon is confined to the two TV series, and seven of the comic book series. II. Covers unlicensed or secondary materials. These are not sanctioned by the license holders, and are generally independent commentaries, analyses, reimaginings, or discussions about the original texts. These include books, essays, articles in journals, magazines and news sources, TV documentaries, interviews, dissertations and papers, and derivative works such as parodies, fan fiction, and fan videos. ORGANIZATION OF SECTIONS Sa mp le There are 23 sections in the book, based on the formats of the information. Each of the 23 sections has a consistent organization. The sections are organized as follows: 1. A Table of Contents for the section. 2. A short Introduction to the section. 3. How to Read the Bibliographic Citation: Details on how to interpret the MLA-style bibliographic citation for the section. 4. On the Web: A list of Web resources relevant to the section. 5. Number of Citations: The number of bibliographic citations in the section. BIBLIOGRAPHIC FORMAT Bibliographic citations in this book follow the recommended style of the MLA Handbook for Writers of Research Papers, 7th ed. (2009). Major changes in this MLA edition include: using italics rather than un5 6 User’s Guide pire Slayer and Angel) is not italicized when it appears within another title (see MLA Handbook 3.6.4). derlining for titles of independently published works (such as books, periodicals, DVDs, CDs, websites, and films); adding a format note to the end of each citation (Print, Web, CD, DVD); and generally omitting the URL for web resources. There are several exceptions to MLA bibliographic style in this book. If you are using these citations for research papers or publication, please be aware of these changes. Battis, Jes. Blood Relations: Chosen Families in Buffy the Vampire Slayer and Angel. Jefferson: McFarland, 2005. Print. 200p. Genge, Ngaire E. The Buffy Chronicles: The Unofficial Companion to Buffy the Vampire Slayer. New York: Three Rivers, 1998. Print. 253p. 1. To make it easier to visually navigate around the text, names of authors are in bold, and the full authors’ names are repeated entry by entry, rather than employing “three hyphens” as recommended by MLA. mp le Bianculli, David. “WB & Buffy Stake Out Tuesday.” New York Daily News 7 January 1998: 63. LexisNexis Academic. Web. Ruditis, Paul. Buffy the Vampire Slayer: The Watcher’s Guide 3. New York: Simon, 2004. Print. 368p. file Bianculli, David. “UPN’s Stake in Vampire Slayer Is Bigger Than Buffy.” New York Daily News 16 July 2002. Newspaper Source. Web. However, if the title Buffy the Vampire Slayer is separated from the subtitle, it remains italicized. Sa 2. Citations for monographs (books, dissertations, scripts, and comic books) include the number of pages at the end of the citation, since this can be useful information. Wilcox, Rhonda V. Why Buffy Matters: The Art of Buffy the Vampire Slayer. New York: Tauris, 2005. Print. 256p. Wilcox, Rhonda V., and David Lavery, eds. Fighting the Forces: What’s at Stake in Buffy the Vampire Slayer. New York: Rowman and Littlefield, 2002. Print. 290p. 3. Citations for some formats have been adapted and simplified. These include TV episodes, DVDs, scripts, comic books, games, websites, and fan magazines. NOTES ON TITLES The MLA Handbook recommends that a normally italicized title (such as Buffy the Vam- The MLA Handbook also recommends capitalization of major words in Englishlanguage titles, such as nouns, pronouns, verbs, adjectives, and adverbs. Articles, prepositions, conjunctions, and infinitives are not capitalized, except when they begin or end a title, or follow a colon (see MLA Handbook 3.6.1). In other languages, major words in titles (except proper nouns) are not capitalized. In German, both proper and common nouns are capitalized (see MLA Handbook 3.8). Golden, Christopher, Nancy Holder, and Keith R. A. DeCandido. Buffy contre les vampires: Le guide officiel. Trans. Isabelle Troin. Paris: Fleuve Noir, 1999. Print. 308p. Translation of The Watcher’s Guide. Golden, Christopher, Nancy Holder, and Keith R. A. DeCandido. Buffy im Bann der Dämonen: Der offizielle Serienguide, Band 1. Trans. Christiane Jung. Stuttgart: Panini, 2001. Print. 298p. Translation of The Watcher’s Guide. Holder, Nancy, Christopher Golden, and Keith R. A. DeCandido. Buffy the Vampire Slayer: The Watcher’s Guide. New York: Simon, 1998. Print. 298p.