But when you're Buffy Summers, a vampire slayer--the Chosen One (with all that entails)--building a new life can be overwhelming. A group of nerdy vampires, shunned by their cooler brethren, decide to climb the vampire social ladder by taking out the Slayer. They play on Buffy's insecurities, wearing her down until she is full-on distracted by the mental warfare. But in addition to her Watcher, Giles, this Slayer has a couple of new friends, Willow and Xander, to cheer her on . . . except, of course, when they're not getting along.Award-winning author Faith Erin Hicks (The Adventures of Superhero Girl) brings the angst, the action, and the cool to Buffy the Vampire Slayer!

    Nearly every year since, the rich thematic material of good vs. evil, Slayer vs. vampire, friendship vs. isolation, and black vs. the new black has been explored at Dark Horse in over a hundred different issues - and by the biggest luminaries in the business. The stunning visuals unachievable on a small-screen budget have come to life, realized by Chris Bachalo, J. Scott Campbell, Jeff Matsuda, Mike Mignola, Terry Moore, Eric Powell, Tim Sale and Ryan Sook, among others. Take a look back at the most dynamic and memorable line art and paintings from the first ten years of the Slayer in comics - the best visions of Buffy that comics have to offer is finally given the deluxe coffee-table treatment, in a tradition started by our popular Star Wars: Panel to Panel series.

    Bad television--predictable, commercial, exploitative--simply yields to the forces. Good television, like the character of Buffy the Vampire Slayer, fights them. Fighting the Forces explores the struggle to create meaning in an impressive example of popular culture, the television series phenomenon Buffy the Vampire Slayer. In the essays collected here, contributors examine the series using a variety of techniques and viewpoints. They analyze the social and cultural issues implicit in the series and place it in its literary context, not only by examining its literary influences (from German liebestod to Huckleberry Finn) but also by exploring the series' purposeful literary allusions. Furthermore, the book explores the extratextual, such as fanfiction and online discussion groups. The book is additionally supplemented by an online journal Slayage (www.slayage.tv), created by the book editors in acknowledgement of the ongoing nature of television art. Rhonda V. Wilcox and David Lavery have written and edited several books and articles exploring the social, literary, and artistic merit of quality television. In addition to Buffy the Vampire Slayer, their work has covered a variety of programs including Twin Peaks, Northern Exposure, The X-Files, and The Sopranos.

    It’s easy to see why. Whedon, who got his start writing for Roseanne, dreamed of writing movie screenplays. He got his shot when he sold his script for Buffy the Vampire Slayer, but the movie fell far short of his hopes for it. After a few years of working as a script doctor, Whedon got the chance to doBuffy again, this time as a TV show.Few expected it to succeed, but Whedon’s humor and intelligence shone through in the scripts, and viewers quickly became attached to the engaging, witty characters. Buffy kept getting better: each season of the show featured a complex story arc possessed of a real sense of danger and further developed the characters. The last few years have brought the Buffy spin-off Angel, the lamentably canceled Firefly (a space western), and the comic book Fray. Engaging and filled with fun quotes, this is a must-read for Whedon’s many fans.

    From what was wrong with the pilot to what was right with the Reavers, from the use of Chinese to how correspondence between Joss and network executives might have gone, from a philosopher’s perspective on “Objects in Space” to a sex therapist’s analysis of Inara, Finding Serenity is filled with writing as exciting, funny and enthralling as the show itself.

    a curse that brought a terrible vengeance upon the tribe in the form of Angelus' family: Darla, Drusilla and most notably, William the Bloody, a.k.a. "Spike." But the gypsy clan has a dark and powerful supporter: Count Dracula. Outraged over the slaughter of the gypsies, Dracula seeks revenge upon the three vampires... and thus begins a rivalry between Spike and Dracula that will cover decades. A rivalry steeped in blood... honor... and eleven quid.

    Its groundbreaking stylistic and thematic devices, boldness and wit earned it an intensely devoted fan base-and as it approached its zenith, attention from media watchdog groups and the Federal Communications Commission. The grim and provocative evolution of the show over its final two seasons polarized its audience, while also breaking new ground for critical and philosophical analysis. The thirteen essays in this collection, divided into the perspectives of feminist, cultural, auteur and fan studies, explore the popular series' conclusion, providing a multifaceted examination of Buffy's most controversial two seasons.

    The authors argue that these works are part of an existentialist tradition that stretches back from the French atheistic existentialist Jean-Paul Sartre, through the Danish Christian existentialist Soren Kierkegaard, to the Russian novelist and existentialist Fyodor Dostoevsky. Whedon and Dostoevsky, for example, seem preoccupied with the problem of evil and human freedom. Both argue that in each and every one of us a demon lies hidden. Whedon personifies these demons and has them wandering about and causing havoc. Dostoevsky treats the subject only slightly more seriously. Chapters cover such topics as Russian existentialism and vampire slayage; moral choices; ethics; Faith and bad faith; constructing reality through existential choice; some limitations of science and technology; love and self-sacrifice; love, witchcraft, and vengeance; soul mates and moral responsibility; love and moral choice; forms of freedom; and Whedon as moral philosopher.

    Whether you're a seasoned Slayerette or a novice, this bumper guide to the complete seven series is your indispensable companion to Buffy's universe.

    Joss Whedon's classic vampire character returns to comics and IDW's got him! This book, collecting the Angel: The Curse series written by fan-favorite Angel author Jeff Mariotte, will be sure to appeal to fans of Buffy the Vampire Slayer and Angel alike!

    In this thoughtful, witty look at the acclaimed "Buffy" spin-off, five science fiction and fantasy writers discuss their favorite vampire.

    Completely illustrated and annotated by the rest of the gang, this book of spells is a unique keepsake for fans of the Buffy-verse and an incredible celebration of the show’s twenty-year legacy.

    DJs will be mixing up somebody- moving grooves, smart drinks will be available at the bar, and we'll be giving up a virgin sacrifice for the blood goddess. An old friend of Spike is in town, and he's getting every teenager in Sunnydale to trip the light fantastic at some very special, underground raves. He has a plan that could mean big things for vampires everywhere, and Spike agrees to help him out. Everyone who is anyone is rolling at these after-hour parties, including a whole posse of vampires. Buffy and the Scooby gang are going out and getting down to put an end to what's become a euphoric feeding frenzy for some of the baddest baddies in town.

    In a small California town, low on funds and food, he runs into his past hidden under the floorboards of an old store, as well as a patience-trying slimy monster, stolen children, and some trouble with his boots . . . And, of course, there's always a girl. How can a good guy catch a break when he's constantly trying to hide the vampire inside?The original graphic novel (i.e. not previously published in comic book format), Spike: Into the Light is written by James Marsters, the actor who played Spike on the Buffy the Vampire Slayer television show.• Get into Spike's head as only James Marsters can!• An original graphic novel set in Buffy Season 7!

    Yet the show has lived on through syndication, global distribution, DVD release, and merchandising, as well as in the memories of its devoted viewers. Buffy stands out from much entertainment television by offering sharp, provocative commentaries on gender, sexuality, race, ethnicity, and youth. Yet it has also been central to changing trends in television production and reception. As a flagship show for two U.S. “netlets”—the WB and UPN—Buffy helped usher in the “post-network” era, and as the inspiration for an active fan base, it helped drive the proliferation of Web-based fan engagement.In Undead TV, media studies scholars tackle the Buffy phenomenon and its many afterlives in popular culture, the television industry, the Internet, and academic criticism. Contributors engage with critical issues such as stardom, gender identity, spectatorship, fandom, and intertextuality. Collectively, they reveal how a vampire television series set in a sunny California suburb managed to provide some of the most biting social commentaries on the air while exposing the darker side of American life. By offering detailed engagements with Sarah Michelle Gellar’s celebrity image, science-fiction fanzines, international and “youth” audiences, Buffy tie-in books, and Angel’s body, Undead TV shows how this prime-time drama became a prominent marker of industrial, social, and cultural change.Contributors. Ian Calcutt, Cynthia Fuchs, Amelie Hastie, Annette Hill, Mary Celeste Kearney, Elana Levine, Allison McCracken, Jason Middleton, Susan Murray, Lisa Parks