In the unceasing war against Chaos, the doom-seeking dwarf, Gotrek and his human companion, Felix are beset by a new, terrible foe--an evil which threatens to reach out from darkest Sylvania. Reissue.

An official guide to Buffy the Vampire Slayer describes the mythology and influences behind the monsters, ghouls, and characters through interviews with the creators and details of the episodes.

Buffy Summers is the Chosen One. Born with unnatural strength and instincts, she alone must fight off the vampires of the world to save humankind. Not to mention the fact that she mustalsodeal with the usualteen nightmares: dating, friends, and high school. Buffy, along with her best friends Willow and Xander, strugglesto save the world one fiesty vamp at a time. Halloween Rain ~ Even without a maniacal scarecrow, a Sunnydale Halloween is a truly horrific happening. There are enough zombies and vampires about, ready to party hearty and eat some brains, to keep the Slayer and her friends up all night. But then the rain starts to fall... Bad Bargain ~ All hell breaks loose when Sunnydale High is once again the focus for channelled evil - but is the infestation of strange demonic vermin a harbinger of something much worse to come…? AfterImage ~ A mysterious stranger has designs on Sunnydale as the town prepares for an all-night session of horror films at the Drive-in - and that's when things get very weird indeed.

As long as there have been vampires, there has been the Slayer. One girl in all the world, to find them where they gather and to stop the spread of their evil and the swell of their numbers... Night of the Living Rerun~ As if real life wasn't already overflowing with vampire-staking, Buffy is now dreaming about slaying! Night after night, it's the same thing... What could it mean? When Xander and Giles start acting like they have ancient alter egos, Buffy begins to realise what's going on. Can Buffy prevent the Master from escaping his supernatural prison before Sunnydale becomes history! Coyote Moon~ The seedy carnival looks like just the thing to give Buffy and her friends, Xander and Willow, a break from staking bloodsuckers. Some greasy food, a few cheap thrills - what more could a Slayer ask for? But then Buffy senses something evil behind this carnival. Could it be connected to the corpses that are turning up around Sunnydale. CanBuffyfind out what's going on in time to save her friends? Or has the Slayer become the prey? Portal of Time~ The Master, Buffy's nemesis, may be gone, but he is by no means forgotten. One of his devotees has set out to alter the past, killing off Slayers in order to change the future. With the Slayer line extinguished, there will be no Buffy. And without Buffy, no one will be able to prevent him as he resurrects The Master. Having opened a portal through time he is about to send his minions into the past to murder the most influential Slayers in history. Buffy is forced to follow them through the portal in a race against time and evil. But the problem is... you can't change the past without altering the present...

Could there have been television without California? California without television? The one shows the other: the ostentatiously novel singularity of the place and the seemingly self-effacing transparency of the medium. Yet if television and California both promise again and again to offer us something new, young, immaculate in its transience - a pure surface that will never get caught in the ditch of time - they are also both haunted through and through: by the itinerant contents of the past that they cannot banish, by memories of the infantile-perverse utopian fantasies that taunt us in constant replay ("If you're going to San Francisco...," "two girls for every guy"), by the contradiction played out in the very gesture of dismissing history and leaving the dead to bury the dead. California and television, as it were, conspire in a vampirologic: the forever-young is what has been there the longest, what really "takes us back." And so we also will take ourselves back: to Buffy the Vampire Slayer, already almost charmingly quaint, and Walter Benjamin's magnum opus The Origin of the German Mourning-Play. What can come of this improbable conjunction? It will not seem too strange that Benjamin, posthumous wanderer across the textures of Americana, should again take up lodging at the Hotel California. But more is at stake than just another hapless visitation from the on high of high theory: reading Buffy as the remediated afterlife of the dead-on-arrival genre of the baroque German mourning play, Adler's book records the first broken, awkward steps toward a project that, with the recent rise of "quality television," seems more urgent than ever before: a political-theological characteristic of the television series.

The intense and continuing popularity of the long-running television show Buffy the Vampire Slayer (1997-2003) has long been matched by the range and depth of the academic critical response. This volume, the first devoted to the show's imaginative and widely varied use of music, sound, and silence, helps to develop an increasingly important and inadequately covered area of research - the many roles of music in contemporary television. In addressing this significant gap, this book provides an exemplary overview of the functions of music and sound in the interpretation of a television show. This is done through analyses that focus on scoring and source music, the title theme, the music production process, the critically acclaimed musical episode (voted number 13 in Channel Four's One Hundred Greatest Musicals), the symbolic and dramatic use of silence, and the popular reception of the show by its international fan base. In keeping with contemporary trends in the study of popular musics, a variety of critical approaches are taken from musicology, cultural studies, and media and communication studies, specifically employing critique, musical analysis, industry studies, and hermeneutics.

Series creator Joss Whedon brought Buffy the Vampire Slayer back to life with this comics-only follow-up to Season 7 of the television show. This hardcover edition contains the first two arcs of the series, plus two one-shots, written by Joss Whedon and Brian K. Vaughan (Y: The Last Man, Runaways), with art by the acclaimed Georges Jeanty!