I think we may be miscommunicating with different intentions for the same words.
Joss does write emotive journeys, and yes, in season 2 and in season 5 and in season 6 Buffy does have an emotional start point and an emotional destination. And, I think Joss is deliberate in both the beginning and the end points, exploring it through episode metaphors and themes.
Overarcing plots on the other hand are pretty concrete. It is what we see not what we may interpret from what we see. Plot is a tool. It is systematic mechanics. Observed action A led to reaction B resulting in incident C. It is text. Emotion is subjective and interpretaional in a visual medium, based on how one reads subtext into visible action... which is why there are a wide range of subjective interpretations of meaning regarding character actions or even metaphors like a falling house. While you end up with endless debates on what something means, we more or less have to agree on what happened. Action (and plot) is objective. Emotion of a character in a visual medium is subjective and theme is usually open to interpretation. It's more loose.
The emotional journey of Buffy may be her discovery of "me", but the plot is primarily her relationship with someone that led to action A resulting in consequence B and climactic sequence C. The emotion may be complex. The action? It's pretty direct.
Joss almost always has some emotional point he's making, that's what I meant by his telling story with theme. He is a strong storyteller in that regard. However, that doesn't necessarily mean that he's meticulously building a plot. He pretty much admits to this ("continuity is for wusses" and his DVD commentary about deliberately leaving blank spaces that audiences can fill for themselves however they like). He likes thematic emotional journeys, but he not always concerned with logistical detail.
The primary point of my post was that if you're someone bothered by the logistics of the plot thus far, then I don't think his resolution will change your feelings that regard.
If, however, you are someone primarily interested in the thematic and the emotive, you can be quite happy with the journey as it is.
I don't think that Joss will change his storytelling method to satisfy those who are driven batty by lapses in continuity. I also cannot think of an instance where in the eleventh hour he produced a foundational shift that turned the plot on its ear, suddenly making it entirely different.
Anyway, by plot I'm referring to plot structure, the mechanics of what is visible and concrete. Emotional underpinnings fall more in line with his use of theme and emotion... which has always been Joss's strong suit.
Basically, I don't think we're actually disagreeing. Joss does write emotional journey's first and if that's what you're most concerned with as a reader, enjoy it! Be happy! But his 'plots' are secondary or tertiary for him, and, if the logistics of the plot drive a fan to distraction, then I don't think the fan should expect the comic resolution to "fix" those logistical problems for them.
It's according to what you're looking for. Joss is what he is. I don't think he's going to change his spots.
![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
branchandroot
no subject
Date: 2009-01-14 07:36 pm (UTC)Joss does write emotive journeys, and yes, in season 2 and in season 5 and in season 6 Buffy does have an emotional start point and an emotional destination. And, I think Joss is deliberate in both the beginning and the end points, exploring it through episode metaphors and themes.
Overarcing plots on the other hand are pretty concrete. It is what we see not what we may interpret from what we see. Plot is a tool. It is systematic mechanics. Observed action A led to reaction B resulting in incident C. It is text. Emotion is subjective and interpretaional in a visual medium, based on how one reads subtext into visible action... which is why there are a wide range of subjective interpretations of meaning regarding character actions or even metaphors like a falling house. While you end up with endless debates on what something means, we more or less have to agree on what happened. Action (and plot) is objective. Emotion of a character in a visual medium is subjective and theme is usually open to interpretation. It's more loose.
The emotional journey of Buffy may be her discovery of "me", but the plot is primarily her relationship with someone that led to action A resulting in consequence B and climactic sequence C. The emotion may be complex. The action? It's pretty direct.
Joss almost always has some emotional point he's making, that's what I meant by his telling story with theme. He is a strong storyteller in that regard. However, that doesn't necessarily mean that he's meticulously building a plot. He pretty much admits to this ("continuity is for wusses" and his DVD commentary about deliberately leaving blank spaces that audiences can fill for themselves however they like). He likes thematic emotional journeys, but he not always concerned with logistical detail.
The primary point of my post was that if you're someone bothered by the logistics of the plot thus far, then I don't think his resolution will change your feelings that regard.
If, however, you are someone primarily interested in the thematic and the emotive, you can be quite happy with the journey as it is.
I don't think that Joss will change his storytelling method to satisfy those who are driven batty by lapses in continuity. I also cannot think of an instance where in the eleventh hour he produced a foundational shift that turned the plot on its ear, suddenly making it entirely different.
Anyway, by plot I'm referring to plot structure, the mechanics of what is visible and concrete. Emotional underpinnings fall more in line with his use of theme and emotion... which has always been Joss's strong suit.
Basically, I don't think we're actually disagreeing. Joss does write emotional journey's first and if that's what you're most concerned with as a reader, enjoy it! Be happy! But his 'plots' are secondary or tertiary for him, and, if the logistics of the plot drive a fan to distraction, then I don't think the fan should expect the comic resolution to "fix" those logistical problems for them.
It's according to what you're looking for. Joss is what he is. I don't think he's going to change his spots.