Tag Archives: The Yoko Factor

One Faith, Three Narratives

July 8th, 2010

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When I wrote about the first crossover between Buffy and Angel, I wrote that it wasn’t so much a crossover as it was ancillary elements (a returning Spike, the Gem of Amara) crossing between the two series and created largely independent stories which happened to share a basic foundation. However, Spike was a fun villain at that time as opposed to a neutered anti-hero, and the Gem of Amara was a simple MacGuffin without much meaning, so the episodes were meaningful less for what crossed over and more for the stories which those elements created for each series’ respective arc.

As we arrive at the final crossover event (stretching, technically, over five episodes) of the season, what’s clear is that the rules have changed: while the awakened Faith is, like Spike, a character-based connection between the two worlds, it is a connection with much more baggage than Spike’s villainy, and one with wide-reaching complications for both narratives. Whedon is very interested in Faith’s story, which remains diverse and compelling over the course of these episodes, but he is acutely aware of the different role her story plays in each series: while there is technically a clear thread which charts Faith’s behaviour over the course of the four episodes in which she appears, there is a distinction between how much each series focuses on her story as opposed to the story of those around her.

The result is three separate stories, unquestionably connected but distinct in terms of their sense of momentum. While a single narrative of Faith’s awakening stretches over both series, and Buffy and Angel travel back and forth between the two shows working out some of their lingering issues, Faith’s impact on Buffy’s narrative (in “This Year’s Girl” and “Who Are You”) is very different from Faith’s impact on Angel’s narrative (in “Five by Five” and “Sanctuary”), her story finding the series in two very different places which result in unique consequences.

For Buffy the Vampire Slayer, Faith’s return is a continuation of a past storyline and a thematic reminder for the series’ ongoing arc; for Angel, Faith’s return is a turning point for the series’ sense of narrative momentum and character dynamics. Throw in Faith’s individual narrative, and you’ve got the sort of television event that you don’t see every day, and one which helps justify the decision to watch the two series simultaneously even in its quasi-fractured structure.

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