Week 10

How does Buffy deconstruct traditional literary notions of good and evil?

Buffy the Vampire Slayer and other programs like it, offer a unique modern perspective on the classical ideas of good and evil. Braum (2000) states-

“What is interesting about some of these newer representations of the supernatural, however, is the moral ambiguity that permeates many of the characters, including both the inhuman beings and ordinary characters.” In my opinion, this complexity of morality is a more realistic view of the concept of good and evil, the idea of yin and yang; that all evil has some good and vice versa; or that peoples stances or interpretations of morality are fluid and can change. Even a monster (Hitler perhaps) has some trace of good or is indeed capable of a decent act, and the same applies to characters within Buffy. They may change as their circumstance or outlook does. Braum (2000) “Evil is often less fixed in these shows, with many characters demonstrating both decent and demonic traits and behaviors across episodes or seasons.” Good characters may reveal themselves as something different from what the viewer has been led to believe, and the intentions of an evil character maybe shown to be based on a righteous cause, Braum (2000) “Good characters may develop in frighteningly sinister ways; villainous ones may surprisingly reveal complex and even selfless motivations.”

Buffy the series almost becomes an exaggeration of real life personalities; given a license to do so by the constant adaptability and restlessness of a high fantasy narrative. It also relates to last weeks point about the combination of the Fantastical with the familiar, present in Buffy-like programs. The characters in Buffy almost acting like hyper personalities (changing morality very quickly) compared with the 2D characters present in many TV Dramas. Braum (2000)

“Moral ambiguity can turn into evil at any moment, and the characters are constantly faced with the challenge of navigating the changing boundries of hellmouth and their own motivations and desires.”

How do you think Buffy has influenced the contemporary vampire drama “TrueBlood” and the “Twilight” series of novels and films?

Although I haven’t seen Trueblood, it does seem to share the Gothic Romanticism of Buffy and Twilight, as well as a fantasy narrative and the  muddying of morality. I did however have the unfortunate experience of watching Twilight 1 and 2, forced to watch under duress by a “friend” who practically raved about everything twilight (I think she was in love with that bi curious vampire). I can safely say Twilight has mimicked various aspects of the Buffy formula; vampires, werewolves, the supernatural. Factions within these groups, who adhere to different moral standpoints etc, and characters who straddle the boundary of good and evil. Twilight even has “vegetarian” vampires, who drink only animal blood. So again the fictional world brings to the supernatural, very real representations of human societal interactions. But alas, this is where the positive comparisons with Buffy the Vampire Slayer end. Buffy was an enjoyable show, with a wide target audience, an interesting storyline, decent acting and some great dialogue and plot development; Twilight from start to finish, is a wreck. Horrendous acting, the most clichéd storyline imaginable, weak characters and horribly forced dialogue; Twilight owes its success only to the fact that it was literally designed- from page to page, or reel to reel- to be the ultimate 15-25 y/o female fantasy. Every single plot development and almost every character are built around satisfying the one female main character’s (and ultimately some of the audiences)  deepest desires. Far more than Buffy could ever be accused of. That alone doesn’t necessarily count against it, but combined with the other weak points of Twilight, it qualifies itself as a failure compared to the originality of Buffy, Box office aside.

References

Braum, B. (2000) The X-files and Buffy the Vampire Slayer: The ambiguity of evil in supernatural representations. Retrieved 18 October, 2005 from:

http://www.findarticles.com/p/articles/mi_m0412/is_2_28/ai_64688900

Week 12

Hi, everyone, this is my final Post. Good luck for exams… (^-^)…

Why is reality TV so popular for both programme makers and TV viewers?

After I have finish read the material that lecture have provide online, I found there are few attractions for audience when they choose reality TV programme.

First of all, I think reality TV has a broad and profound knowledge which make people learn different knowledge while they are relaxing, even does not need to go worldwide.

According Hill, A (2005) have mentioned in the first paragraph, there are main strands to the development of popular factual television, and these related to these areas of media production: tabloid journalism, documentary television and popular entertainment.(pg 94) as we all know three main media have already covered everything around human` society. According to the same page John Fisk have described ,The tabloid Journalism it's a intersection between public and private life, or relevant stories to human`s life, its sensational to people, which as a mirror reflection to human/audience`s normal life, even more touching while people really into it for some programme. The documentary television its related to tabloid TV as well, however its more high quality and less populist form of programme in reality TV field, compared to the traditional documentary, the new documentary television more focused on public new, current affairs, the documentary television has been called as a real mark of public service commitment. Back to the question, I think audience also can gain lots of benefits and daily news in realism `s aspect from this documentary genre. Last but not least, The popular entertainment it's the development of factual TV, it’s more as a talk shows, game show, sports and leisure programme. Again, as pg98 mentioned, the game show format its attractive viewer because the big reward at the end, the knowledge and skills people have used inside of the game. The extremely survive for both physically and emotionally.

According Hill (2005) `s words in pg 98 he says “in Britain, leisure and instructional programming in the 1970s were about gardening, cooking, dress making and DIY. All associated with ‘skills acquisitions. Finally, he states the soap opera or melodrama it's the genre help people enjoy and relaxing for the day.

Then, there are also some benefits for the Reality TV`S producers. Such as, pg 97 have mentioned the game show its ‘cheap and easy to produce’ and ‘extremely exportable’. I think those two reasons are the main point produces willing to make more Reality TV.



How does new-media (the internet, cell-phone technology, etc) play a significant role in the success of reality TV, as well as cult TV series such as Buffy?

As the Hill (2005) `s materials has point out the new-media (such as, the internet, cell phone technology, etc) as the conveyer between audiences to reality TV producers. These new-media related reality TV more close to viewer and producers. Especially for some game shows, such as: pop stars, American Idols programme. According the resources Hills (2005) have provided to us on page 103. He take UK `s Reality TV as a example, ‘Over 7 million viewers telephoned Channel 4`s hotline to vote for winner, which break the record for UK TV programme. As for the website, it received 3 million page impressions each day, which made it Europe’s top website during the summer of 2000’.

This example has point out people use new-media communicate with Reality TV producers instead of old ways. This is much direct and free, even faster than old ways helped people to expresses their true ideas and acquisitions about the Reality TV. The producers also can get the viewer wants ,desires, therefore to produce more successful Reality TV shows to satisfied viewer’s needs during the day and night, without time limitations as well.

Take cult TV Buffy as an example, the new- media to Buffy studies not only the producers `s field, but also viewers. Try to think about if there is no new-medias involved in our society, would the Reality TV or culture TV developed so fast? I think the answer definitely it’s ‘NO’. Because the ‘True Blood, Twilight, and Vampire Dairy’ such stories it’s very popular in youth viewer’s world. They are willing to use new-medias to discuss with each other, even form up to specific group or community to discuss it more. As new media provide the fast speed to the world and free contribution spaces to human’s society, more and more people felt it holding the important position in our daily lives.

So, Above all, I think the new-media plays a important role in success of reality TV, cult TV as well, which it’s a useful tool use for communicate with viewers world-wisely.

Reference List:

Hill, A (2005) The rise of reality TV. In A. Hill, Reality TV: Audiences and Popular Factual Television. (pp. 15-40). Oxon: Routledge.

No screening this week (12)

No screening is planned for this Thursday (week 12). This will give you all an opportunity to catch up on your blogs and begin working on the second brief assignment (Fanfic or an essay).

Week 11

(Hello, guys, sorry about my late posting, i have not done week 7, 8 and 12 yet, please comments on my week4,5,6,9,10`s posts)
Wk11
How has the documentary genre influenced reality TV and how it presents the ‘real’?

In the Biressi, A. & Nunn (2005) texts (Paragraph One), they points out the documentary genre have influences reality TV from the time since “Direct Cinema, and Free Cinema” occurs. In this paragraph also point out the documentary genre influences the reality TV not only by “the use of new technology” such as, “fly on the wall” , “ by entering the frame the filmmaker avoided the pretence of objectivity, thus creating a more equal or truthful relationship with the subject” noted in PPT slice7, and some voiceover techniques. Those techniques it’s the conveyer of the subject and the camera, which build up a “real” feeling, afterwards, this real reaction will directly go to audiences.

There are many programme in the television recording the competitor`s real, personal lives while they are involve a competition. Such as, the well know programme America Idol, Survivor, the domestic programme, NZ idol. They are using a documentary way to record the real live and showing to audiences. The presenting the realistic its usually contains contestants winning happiness and loss tears, also the environment inside the programme. So, the audiences can easily feel they also involve inside the competition while they following every series or following the contestants they love. I think people`s real emotions never lies while they face on the important minutes.

How does Hill define reality TV?

First of all, Hills have described reality TV a board filed. At the beginning of the article (On pg 41), he says “in early stage of the genre, reality was associated with on-scene footage of law and order, or emergency services. More recently, reality TV is associated with anything and everything, from people to pets, from birth to death”. I think this is because human society`s developing and human needs reality TV as a mirror to reflected the way how we live and live better. This general description for reality TV have showed us the factual programme creators do work hard on the programme to make the TV industry more and more relating to our normal social life.

Then, Hill (2005) on page 42 defines “the most traditional industry term for reality TV is factual entertainment”. After this paragraph, he have categorised the factual entertainment in to 6 different area, “documentaries and contemporary factual; specialist factual; current affairs and investigations; arts and cultural; life skills; and new media. This give us have a fundamental knowledge of new genre structures of reality TV.

Also, Hill (2005) have enumerated a few people from different filed related to Television industry or reality entertainment, they have define reality TV in different ways.
Finally, in the conclusion, he did a sum up for reality TV, even though he says “there is no one definition of reality TV.” Last but not least, he says that s the reason, it is because the reality genera have a wide range merged area of developed genre, also have joined different area of knowledge and form up to their own hybrid genres. So, it’s hard to put it into a specific form to narrow it. I think that is a quite good conclusion within his ideas he may try to explain to the readers.

(Hope more different ideas contribute in the comments,if i have any mistake, please tell me,thank you. )




Reference List:

Biressi, A. and Nunn, N, (2005), Real Lives, documentary approaches. In Reality TV: Realism and Revelation. (pp. 35-38) London: Wallflowers.

Hill, A. (2005) The Reality genre, In A. Hill, Reality TV: Audiences and Popular factual Television. (pp. 14-40)Oxon: Rutledge.

Week 9

Hills (2004) lists a number of defining characteristics of cult TV that contain
similarities to the defining characteristics of pop genres (e.g. fantasy, science fiction)
discussed earlier in the Pop Genres paper. Can you identify these and discuss why
you think that these characteristics are repeatedly viewed as underpinning popular
genres.

Cult TV and other successful forms of fan empowered media, share several unique characteristics that I would say almost wholly account for their immense popularity and success.
Often cult TV (and some cult movies) contain massive, immersive fantasy worlds; according to Hills(2004) “cult texts can be distinguished by their extended, expansive narrative worlds (Hills 2002:137)”. In these worlds, the strange and alien can become and feel real, helping to craft a vast fantasy and a form of escapism within the viewer, hooking them for future viewing. These strange worlds have circumstance and relations similar to our everyday world; simple human relationships, (Hills 2004) “Cult TV also repeatedly represents particularly close, though usually non-sexualised, character relationships.” When major characters of both sexes  in cult tv, have a romance; it is usually resigned to posturing and courting rather than any rocksolid relationship, they defy something that Hills describes as “surburban domesticity”, the settling down of the characters into more complex and entangled relationships is almost strictly forbidden, for this would easily get in the way of the divergent storylines, or the calls to action that are constantly required of the main characters. Can you imagine if Picard from Star Trek had some rugrats and a wife to worry about? It's safe to say we'd never see him on another away mission again, thats for sure.
Some small forms of surburban domesticity can occur in particular episodes, but it is usually resolved (or dissolved) by a plot element, or otherwise by revealing the particular event or situation to have actually occurred in an alternate reality, parallel to the canon of the main story (very easy to accomplish in fantasy genres).
 Obvious enemies or antagonists also usually crop up, along with the usual forming of social groups associated with ”good” or neutral goals and aims. In this way, cult TV appeals to the base structure of human society, and the inner desire to associate oneself with the side of “good”, or the dominant (usually good) faction that are the main characters of cult TV. Hills (2004) “Cult TV also characteristically depicts trusting relationships within a close-knit community,”
Its a fantasy that mixes the bizarre and mysterious with elements from the viewers everyday life, as well as making the characters who carry the fantasy, superior and justified in their actions and moral platform. Hills (2004)  states “...transformation from exotic or extraordinary into homely/ordinary is, I would argue, one of the key ways that cult TV appeals to its audience over time.”
Because of the similarity between elements of everyday life and elements within the cult fiction, fans find themselves accepting the bizarre as part of normality. As the world is expanded and reinforced, the dominant character group is the rock that we anchor our imaginations to; the only constant that allows to accept this consistently bizarre world. Hills (2004)  reinforces this notion “by reiteration and by accumulation of detail, to make fantastic worlds appear normal within a format and narrative structure.” I would also argue that the accumulation of knowledge and our curious nature has always been one of our biggest drivers in real life; so this easily translates to the fantasy world. Because it is fiction and expansive, there can be no end to the discovery and knowledge within the universe, any conclusion or fact drawn could be upturned at any  moment, crafting infinite possibilities, and denying the rationale that we accept in our real world life. A point I find ironic, since many cult tv programs use some form of scientific basis (Star trek, Lost) in their storylines.

Finally, Hills (2004) posits “Cult TV programmes often fail to resolve their major, driving narrative questions, these questions thus remaining open, and narrative closure being indefinitely deferred.”
This is perhaps the most classic of TV show techniques that cult programs employ and in line with other fan driven media such as soaps; the never ending storyline, hooking the viewer in to a group of main characters with an unspecified or perpetual goal; or a goal that is constantly out of grasp; unattainable. If the goal seems attainable, but is allusive, the creators will usually use alternate reality scenarios to satisfy the viewer need for closure, but thus return to normality upon the episodes completion. On some occasions, when the show has had its run, the series reaches its final episodes, the resolutions maybe sloppy and unsatisfying (LOST), since the creators never intended or planned for an ending; or in cases of the shows sudden cancellation, the creators may use a mechanism within the narrative (similar to alternate reality) where the show suddenly flashes forward to its conclusion and/or the conclusion of the characters original goals.

What role does Hills (2004) suggest the fans play in the construction of cult TV? How
is new media central to this?

What is, or is not cult TV, is literally decided solely by the passion of  its viewership. “Cult TV can be neither made nor promoted as such by the media industry, but instead hinges vitally on audience take-up and devotion.” Hills (2004)
It is the secondary texts that defines cult TV. The articles, the analyses the contemplation of the issues and storyline involved, fanfiction, conventions; all of these things constitute what drives the idea of cult tv. "Cult TV is not predominantly a matter of programmes themselves or audiences; rather, it is constructed through intertextuality that is through secondary texts that activate the meanings and associations of “cult” for audiences by attaching this label to certain programmes.” (Hills 2004)

Other factors sometimes help decide or guide what becomes cult tv. One thing ive noticed (especially in the movie world) is that ”cult” is almost never associated with anything that is highly commercialized or mainstream. Transformers Ive pondered, occupies a unique place within this idea. The original cartoon could definitely be defined as a cult product, yet it was the product of a highly commercialized Japanese marketing company. The shear fact that it was Japanese may have been enough for the international audience to ignore its marketing background and latch on to it, BUT, more recently with the highly commercial and extremely popular Transformers movies; noone could dare call these films “cult”, or perhaps call anything to do with transformers "cult" ever again, all due to that tiny shift from the cult and fringe, to ultra mainstream.  Hills (2004) on cult TV suggests that sometimes “They are set apart from the mainstream by virtue of initial commercial failure, and are adopted by audiences who perceive otherwise unseen value in them.”
I do not entirely agree. Hill seems to be insinuating that some cult media is taken up merely because it is not taken up by the mainstream, or successful. I have a slightly different view, for there have been some recently critically acclaimed movies, that in their day were  commercial failures. I believe these types of movies perhaps had themes or storylines that most movie viewers find unsatisfying, or strange; but which niche audiences would perhaps have appreciated from the onset, had they had exposure to it. This accounts for the slow increase in viewership that cult media enjoys, as the intended fans slowly find their way to these narratives that more identify with their own fantasies. And of course, some movies and series simply fail at the time because of very poor marketing. Its extremely hard to make a movie or series financially successful, if the intended audience never knew of its existence.

As for the question of new media, I do not believe it is fundamental to the idea of Cult television, it is more a facilitator for the passionate fans to form in groups and discuss their passion more effectively. Before the internet, classic mediums such as cult magazines and fanclubs would have assumed the operations that new media has now almost taken over. So, the internet has merely changed the way in which Television and movies assume cult status (much like the internet has changed every other facet of our lives); it is still the fans and the secondary texts associated with the fanbase, that decide and guide the inner workings of cult TV. Whether that advancement occurs on or offline is irrelevant in some ways,  the speed with which internet has sped up all communication, may have consequently affected the rate at which what is "cult", is decided.

References

Hills, M. (2004). Defining Cult TV; Texts, Inter-texts and Fan Audiences, The Television Studies Reader, in R. C. Allen & A. Hill. London and New York: Routledge.

Week 11

How does Hill define reality TV?

Hill (2005, p. 55, line, 37-39) states " If there is one defining characteristic that unites the disparate group of programs that make up the reality genre it is the capacity to let viewers see for themselves".
Secondly Hill (2005) mentions how John Corner approached one of the central concerns surrounding the description of the definition reality T V with his own description of it as being " by its very nature popular factual entertainment sits in the spaces between fact and fiction"

Finally in the conclusion section of The reality genre (2005), Hill states "There is no one definition of reality programming but many, competing definitions of what has become the reality genre"

How has the documentary genre influenced reality TV and how it presents the 'real'?

Biressi and Nunn (2005) mention how the documentary genre exposed the everyday lives of the ordinary working class citizens and presented them in their raw and natural state while also letting the viewer see their struggles and pain as they go about their everyday lives. Also discussed by Biressi and Nunn (2005) is the influence of earlier programs such as the BBC series The Trial (1994) which allowed the viewer to gain an insight into the workings of British courts of justice. Biressi & Nunn (2005) mention how the programs producers avoided accusations of voyeurism by keeping within the established documentary modes of exposition and example.I can certainly recall some of the programs of the past decades (Judge Judy a reality TV series in which the judge often expressed her own personal views towards the defendants and plaintiffs and then delivered on their sentence. This was a court TV series where the participants aired out their personal grievances and then judge Judy had the final say on the outcome).however these days with some reality TV it is a little difficult to believe it isn’t totally staged. For example the series in which the boss of a company goes undercover to see how his employees feel about their job and working conditions. It seems that there is always someone who has a tear jerking personal story to tell in this program each week. I have to admit I enjoy the series Airport, Border Patrol, Cops, and the latest series about volunteer British cops who assist the Thai police in the red light district of Pataya. I found the data provided by Hills (2005, p. 51) which concerns itself with the timeframe in which audiences view reality TV very interesting and certainly applicable to my own viewing habits.
(This is my 10th week of blogging so I will now focus my energies on my fan fiction for the next two weeks. It's been an interesting and enlightening experience)

Fanfiction: Yarrow's Adventure

Crossover Fanfiction

Canons: A Wizard of Earthsea (Le Guin, 1993; 1968) and The Man in The High Castle (Dick, 1982: 1962)

Rating: K

New Character: Barfinda, a wizard who, through indulging in the darker side of magic, conjured an entity that took possession of him and transformed him into a wizard-eating bad guy.

Total number of words of Fanfic below: 1040

________________________________________________________________

Yarrow looked round the tidy kitchen. A smile touched her lips. Everything was in its place, just as she liked it. She walked to the window where the harrekki was lying on its back in the sun.

“Vetch should have been home a week ago,” she said, tickling the little dragon on the stomach. “If Sparrowhawk was with him, I wouldn’t worry so much. But Sparrowhawk had another dragon to subdue, one much larger than you, my little friend.”

“Vetch should not have gone to Zeltmathu alone!” a voice bellowed.

Yarrow spun round to see a man standing in the open doorway. “Who are you?” she asked, alarmed.

“Name’s Frank,” he said, stepping into the house. “The I Ching told me to come. The oracle says you must save your brother otherwise a catastrophe will happen in my world.”

“What’s happened to Vetch?” Yarrow asked.

“Barfinda of Zeltmathu has him captive and will devour him –”

“Eat Vetch?” Yarrow said, horrified.

“That’s how Barfinda sustains his power over wizards. You must go at once. You’re the only one who can save him.”

“But I’m too stupid! I wouldn’t know what to do,” Yarrow wailed.

“Only a female relative can save Vetch,” Frank insisted. “The oracle said so.”

“Aunty will know what to do. She lives in the next village,” Yarrow said hopefully.

“No, I’m sorry, not anymore. Barfinda told Mairers to kill your aunty,” Frank explained. “They’ll come here next,” he warned. “If you die, Vetch dies and thousands die in my world. Nazis have killed millions already . . .”

Yarrow gulped. Nazis sounded far worse than Mairers. “What must I do?”

“Enter Barfinda’s lair. Shout ‘Vetch is free, Brooo, Braae, Breee!’ It’s not potent wizard magic, or inferior witch magic, but magic I read in the appendix of Other Magic.”

Three hours later, Yarrow was well on her journey to Zeltmathu. She felt scared and was alone, the I Ching having sent Frank on other business. She’d never set foot beyond the town boundary before. She’d heard stories of the shaggy Barfinda whose lair was lined with the bones of wizards. Wizards who had gone there to test their magic against Barfinda or to set Barfinda's captives free. She hadn’t heard of any returning alive. Yarrow repeatedly said the ‘other magic’ Frank had told her, sure she would forget what to say.

Suddenly, she heard terrible screeches and saw Mairers, fern-like beings, chasing her down. Yarrow ran as fast as she could along the dusty road. She came to an intersection and saw a woman, a knife in one hand.

“I’m Juliana. You’ve met hubby already,” she said, and with flashing, slashing strokes, slaughtered the Mairers. “Frank didn’t think you’d get this far. That’s a test of courage passed. I’m to see you to Barfinda’s lair. You must save your brother for all our sakes.”

And so it was, come mid-morning the following day, they were standing outside Barfinda’s lair.

“Go save Vetch,” Juliana instructed. “I cannot enter, I’m not a relative.”

“I’m scared of the dark, caves, bats, enclosed spaces, adventures and Barfindas,” Yarrow wailed.

Juliana lit the torch they had brought with them and passed it to Yarrow. “There comes a time when every girl must develop a backbone. In you go!”

“Yes,” Yarrow agreed, and went into the foul-smelling cave. Fear must be overcome. Vetch was depending on her.

Soon, Yarrow entered a chamber where sunlight filtered down from a hole overhead. And there waiting for her was her biggest fear. Barfinda.

“I’ll eat you, little girl.”

Yarrow trembled, she was so scared. “Where’s my brother?”

“Yarrow? Is that you? You’re stupid to have come!”

“Oh, yes, I know! Vetch?” Yarrow called, peering into the shadows.

“I can’t release the puzzle lock, Yarrow.”

Barfinda laughed. “No wizard-mind can!”

Yarrow tried to pass Barfinda, but he was quick on his hairy feet. Then Barfinda’s large hands encircled Yarrow’s throat. She could not remember the ‘other magic’ and was slowly falling into a faint.

“Yarrow!” Vetch yelled.

“Vetch is free, Brooo, Braae, Breee!” she croaked, his voice having awakened her.

Barfinda suddenly stood as still as a statue, allowing Yarrow to ease the hairy fingers from her throat. Wasting no time, she found Vetch in a metal cage.

“I can’t escape. Wizardry doesn’t work in Barfinda’s lair.”

“You mean this little lock?” Yarrow asked, working at the puzzle lock. Soon the cage door stood open.

“My stupid sister outthinks a wizard?”

Yarrow smiled coyly. “It was too simple for you, that’s all.”

Barfinda groaned.

“The ‘other magic’ is wearing off,” Yarrow wailed.

Barfinda moved a hand and then a foot.

Vetch picked up the torch and grabbed Yarrow by the hand. Together they fled the cave. Outside they found Juliana standing guard, three dead Mairers nearby.

“It’s on days like these I wish I had my I Ching,” Juliana said. “I’ve grown too far from the Tao.”

“Let’s get out of here,” Vetch said, hearing Barfinda coming after them.

But soon Barfinda caught up with them.

“Vetch, do something,” Yarrow screamed, hiding behind him.

Barfinda laughed. “He’s been inside the cage. His wizardry’s gone until I’m dead.”

“Then have my knife!” Juliana said, stepping forward to slit Barfinda’s throat. But Barfinda easily flung her into a bush.

“Vetch, do something!”

“Fight Barfinda without wizardry? Only a stupid person would do that! Run!”

Too tired to run, Yarrow, lighting the torch, backed away from the predatory Barfinda. Then he lunged at her, his great mouth open, ready to devour her. She jumped aside and shoved the flames into Barfinda’s shaggy, rubbish-laden coat. Flames leaped and so did the screaming Barfinda.

Then she helped Juliana out of the bush and the three hurried on their way, leaving the dying Barfinda behind them. Back at the same crossroads where they had met, Yarrow said her farewells to Juliana.

Finally, Yarrow and Vetch reach their hometown. It seems word of their courageous adventure had gone ahead of them. Everyone was waiting for them, to congratulate them for killing Barfinda.

“Wizards are safe now because of Yarrow,” a woman said.

“Oh, no, it wasn’t just me,” Yarrow replied. “It was also ‘other magic’ brought here by a man and his I Ching.”