– Or The Body –
But I don’t understand! I don’t understand how this all happens. How we go through this. I mean, I knew her, and then she’s, there’s just a body, and I don’t understand why she just can’t get back in it and not be dead anymore! It’s stupid! It’s mortal and stupid! And, and Xander’s crying and not talking, and, and I was having fruit punch, and I thought, well Joyce will never have any more fruit punch, ever, and she’ll never have eggs, or yawn or brush her hair, not ever, and no one will explain to me why.
– Anya; The Body; Buffy the Vampire Slayer
If I were petty, (or perhaps just lazy) I would simply post this quote and leave it at that. But it is unfair to rip quotes out of their context and just expect people unversed to understand why something, contextless as this is, can be so important to a character.
I have always admired Joss for how he writes his characters. Namely, his characters are people — though, with Anya, that is a little less than true. She’s technically a demon (is this a good time to shout SPOILERS? Okay, spoilers). To top is off, she is, essentially, a replacement Cordelia – not totally Cordelia, of course, but she fills the roll of blunt, at times inappropriate, and generally the fringe member of the Scoobies.
But this speech defines her. It is a fantastic bit of dialogue that I bet my bottom dollar most writers would never think to give a character like Anya. Anya is supposed to be the 1000 year old blonde girl who is a bit on the evil side – better not humanize her in any way. That’s what makes this bit of writing unique.
Anya is terrified. She has never had to deal with the mortality of those around her, because a) she was previously immortal, and b) has never taken the chance to get to know the women she previously avenged. She doesn’t know what to do, so she asks the most morbid questions because she literally does not understand. No one is telling her why or what to do and she literally cannot comprehend the idea the Joyce is gone. And how could she – death was never real to Anya. She asks things like “Will we see the body” and “Will they cut open the body” because she is Anya, and mortal things confuse her, but it is incredibly plain to see that she has no concept of how one operates in grief.
We are meant, at first, to react like Willow does – horrified and disgusted that someone would even say such things about a women they all knew. And that’s why this speech is so important. It humanizes Anya in a way almost nothing else can and carries through the scene (the worry in hr voice when Xander punches through the drywall and ‘could have hit an electrical thingy’ is clearly part of her emotional hangover).
People are never only one thing – they are always changing, always growing in some way. To give a speech like this to a character that most TV shows would treat as a one dimensional cardboard cut out is what cements Joss’ skills (to me at least) in character development. He used emotions we all know – aching sadness and grief – and applied them to a character that would not understand the situation and (much like a child), grows up because, in the end, know one really has the answers she seeks.
December 4, 2013
Thoughts on Remixing
emigee93 everything is a remix, originality, remixing, y34rz3r0r3m1x3d, year zero engl3844, Story Telling, Unsolicited Opinions 2 Comments
– Or In Which Emily Links You to Many Things –
When I am displeased with how a genre is handling itself, I endeavor to write what I would like to see out of said genre. This, according to the video series Everything is a Remix, is remixing – the process of copying, transforming, and producing something new based on the work of others. In this instance, I am taking a genre, which has certain conventions and tropes associated with it, and reusing or transforming the tropes associated with that genre.
But what is the actual argument here? What is Kirby trying to say – because he certainly sounds negative. Well, that’s an issue of delivery, and we’ll return to that.
The point Kirby attempts to make over the course of four videos is that everything is the product of people accumulating ideas, playing around with them, and rereleasing those mashed-up and revamped ideas into the world as original products. This concept applies to music, movies, books, inventions, tv shows, and a myriad of other things that comprise our digital and physical culture. The problem is that American society has all but made remixing impossible by condemning copying.
Don’t get me wrong, simply reproducing someone else’s work without crediting the original creator is wrong (like, disgustingly wrong). However, as the remix videos point out, we learn by copying. Hell, that’s how genres become genres; someone writes a fringe story that doesn’t quite fit current conventions, someone else writes based on that fringe concept, and suddenly we have an All-Vampire young adult section at our local bookstores.
It is my belief that remixing – in it’s true, transformative role – fundamentally changes the concept behind the original work. It’s why the song The Warning by Nine Inch Nails sound completely different from The Warning [Stefan Goodchild Remix]. The remixed song conveys a different message; even though it contains the same lyrics, it tells a different story*. And if you change the story, you haven’t reproduced an exact copy. The story, for me (if you’ve been paying attention), is key to the ‘originality’ of something.
(As it happens, Nine Inch Nails runs an official remix site in which they release the tracks of all of their songs and encourage fans to remix to their hearts content. Trent Reznor has also released a nine-part album [four parts of which were free] to the world so that anyone could remix and change those tracks.)
I’m not going to get into an argument about copy right law here – though I want to, because copy right law is the most ridiculous thing – because Part 4 of Everything is a Remix makes the argument better than I can. What I will say is this – without remixes in music, we would have never had the ‘golden age’ of hip hop. We wouldn’t have an alternate interpretation of Year Zero (an album that went so far into storytelling, it created a universe). We wouldn’t have Star Wars or Star Trek or Stargate. Society would have missed out on countless books loosely based on life, on genre, on problems with fantasy.
Let the world remix, because we’re missing out on that kind of originality.