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Date Posted: 09:47:39 09/10/07 Mon
Author: Age
Subject: Re: Another Look Spoilers Part 11
In reply to: Age 's message, "Re: Another Look Spoilers Part 10" on 09:45:46 09/10/07 Mon

Let’s turn to issue three.

The citizens begin to trust somewhat again as symbolized by the title page. Turn the page.

And in doing so this trust becomes an ally against the kind of rigid controlled society they were turning towards out of a need to feel safe as Ethan Rayne symbolizes through his chaos worshipping: chaos requires movement; just as we move through Buffy’s dreamscape, movement is initiated, getting what she represents revived. It is this movement of the individual that’s required as symbolized by Buffy’s emotional journey that creates a feminized emotionally empowered society.

Turn the page.

And so, the symbol of this more feminized society, Willow, is fighting the symbol for the male (might) dominated society, Amy. Willow on the left looking towards the read direction, towards progress, while Amy is the opposite, her look towards regression. Turn the page.

And, the feminized society is ascending again, its emotionally empowering influence changing thoughts of war and defense, turn the page

To less violent pastimes like dancing and partnership with others.

Turn the page to Dawn’s stomping. In this way, the public as represented by Dawn, has gotten up and gotten on with their lives, the individual moving again in society. Letting go of what Amy represents. Turn the page.

Letting go of the nightmare of authoritarian rule, turn the page

And revive through what makes a free society what it is, the respecting of rights, the culture it had nearly killed off, as symbolized by Buffy waking up. Turn the page.

But not without doing damage to relationships already fragile.

Turn the page to wounded Renee and wounding society somewhat.
But they do hang up their intense need to be kept safe as symbolized by Amy’s being hung on the wall, and get back to being the individual loving nation that they are.

But they still have the problem of how far to go in regards to respecting the rights of the individual and preventing a terrorist attack as symbolized by Willow’s being whisked away as either a terrorist attack when they weren’t looking, or as the measure to prevent it. How do you strike a balance? How do you defend yourself against those who have shown you they will attack while still preserving rights?



Here I was going to add my more thorough analysis of the Women’s Movement, and Voll’s reactionary pages, but they are far too long.

In the meantime, the yellow/sun plane on Voll’s desk in issue two is a phallic symbol he’s trying to get up in the air, another erection metaphor that’s pointed to the left, to the regressive direction, which we see as he reveals his true intent through the scar; it symbolizes the attempt to get back up above the dangers of the world, up where both he and Buffy were in the helicopters by erecting the top down governing structure.

Also, look at the inversion of panels to represent resurrection of male (might) dominated society in issue two between those on the page that starts Voll’s segment and those that finish it as he reveals his scar. The two side-by-side panels representing the more feminized society at the top showing the emasculated (in Voll’s opinion) man, Xander, as he’s drenched in feminizing water, are at the bottom on the page where Voll reveals his scar; while the three hierarchically positioned, elongated panels, like phalluses, change position also to become over the two that are side by side representing Voll’s desire, in his rigid hierarchical thinking, to take feminine culture back from being above ground as it is now, and put it underground where his male dominated culture is as symbolized by the complex, so that feminine culture remains unseen and unable to influence men and make them weak. He’s going to invert the cultures just as the shape and position of the panels are inverted.

Note in issue two when Xander moves towards the shaft of Amy’s dagger this represents also what Voll wants men to do, go back to being males (mighty) only. Note the phallic top down nature of the underground complex that Voll and the Suit have to enter as the feminine night that could contaminate them approaches. They have to scurry down into their vole/mole hole. The yellow male (might) sun is setting, going under just like them, with its colour represented in the plane Voll wants to get back up in the air to represent ressur-erection of male dominated society. Note the picture on the wall in his office represents the same thing, being a man made vehicle above the feminizing water. Note also that the recycling company as a front for Voll’s operation is ironic because instead of being progressive as recycling is, it’s regressive because he’s trying to recycle the old male (might) dominated society. Note also that both Buffy and Voll use helicopters in the first issue, creating an immediate symbolic association between the two.

In issue two on the Xander drenched side-by-side panels over the desert phallic male hierarchically positioned panels page note the antithesis in imagery between the water feminine emotional approach as life, and the desert scenes in Voll’s panels. Note that Xander’s being drenched in water is symbolic of what Voll thinks is making America weak and inviting attack. Xander’s response to the water is to arch his back, but in doing so, symbolically it looks like a penis going limp. Note that the desert imagery represents the wasteland of humanity, but from Voll’s point of view it represents what will become of citizens in a nuclear blast, if he allows the women’s culture to keep weakening it and inviting attack.

Also, Dawn’s clothes on her page in issue two represent her feelings of anger and sadness at being left alone: the ‘I’ve got the blues’ jeans and the ‘seeing red’ shoes. Again this could be in regards to having been left alone in the sense of being unprotected before the attack; and then left alone as an individual after. The trousers are upside down to represent how she feels about the state of affairs where, personally, Buffy’s paying too much attention to her slayer sisters and not to her real sister; and symbolically, it represents the top down government where instead of the individual having the power as would normally be, the opposite is beginning to happen. Dawn is also taking a bath to clean off the dust as the final sister, the empowered woman, after the long journey of the Women’s Movement. The Women’s Movement is created by our moving the text along as we read from left to right as the pages go and are all connected by the top panels; therefore it includes us. We are the Women’s (individuals) Movement. Not only, but in issue two, as Andrew’s addressing us directly implies, we are the slayers. Let me explain. Hold the comic book out in front of you and look at Andrew on that page. You, your arms, and the comic book with Andrew looking at you make up a circle like the one of the slayers on the page. Joss Whedon had to include us, the actual real human being because he couldn’t leave any individual out. He had to have one of his characters apparently talk directly to us because he couldn’t leave out anyone, including the reader.

Note also on Andrew’s training page, he appears as a close up in the first panel. Joss Whedon had to do this for several reasons: firstly, because up close and personal, he’s the antithesis of the aloof male elite as represented by Giles being barely visible on the title page of issue two; secondly, the reader needed to be included as part of the process before the ring of slayers in the next panel; thirdly, the two panels at the top represent the more sisterly side-by-side society.

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