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The Buffyverse Catalog
A Complete Guide to Buffy the
Vampire Slayer and Angel in
Print, Film, Television, Comics,
Games and Other Media,
1992 –2010
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DON MACNAUGHTAN
McFarland & Company, Inc., Publishers
Jefferson, North Carolina, and London
OF
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LIBRARY
CONGRESS CATALOGUING-IN-PUBLICATION DATA
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Macnaughtan, Don.
The buffyverse catalog : a complete guide to Buffy the vampire slayer
and Angel in print, ﬁlm, television, comics, games and other
media, 1992–2010 / Don Macnaughtan.
p.
cm.
Includes bibliographical references and index.
Sa
ISBN 978-0-7864-4603-2
softcover : 50# alkaline paper
1. Buffy, the vampire slayer (Television program)— Bibliography. 2. Buffy, the
vampire slayer (Motion picture)— Bibliography. 3. Buffy the Vampire Slayer
(Fictitious character)— Bibliography. 4. Angel (Television program: 1999–2004)—
Bibliography. I. Title.
Z7711.M25 2011
[PN1992.77.B84]
016.79145' 72 — dc23
2011027232
BRITISH LIBRARY
CATALOGUING DATA ARE AVAILABLE
©2011 Don Macnaughtan. All rights reserved
No part of this book may be reproduced or transmitted in any form
or by any means, electronic or mechanical, including photocopying
or recording, or by any information storage and retrieval system,
without permission in writing from the publisher.
Front cover image: shown from left David Boreanaz, Sarah Michelle Gellar,
James Marsters in Buffy the Vampire Slayer, ¡997–2003 (WB/Photofest)
Manufactured in the United States of America
McFarland & Company, Inc., Publishers
Box 6¡¡, Je›erson, North Carolina 28640
www.mcfarlandpub.com
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To my wife, Marji
Acknowledgments
sources, and Pnina Moldovano furnished
insights into Israeli fan materials. Raymond
Bailey tracked down 100 books through interlibrary loan. Lane Community College generously gave me a sabbatical to continue writing and research. Finally, Mary Egan of Mary
Egan Ltd. in Auckland cast her exacting critical eye over the manuscript.
I would like to acknowledge the pioneering bibliographic work on the Buffyverse carried out by Alysa Hornick, Derek Badman,
and Gordon Melton (see Section 23: Bibliographies). In addition, I salute Joss Whedon,
and all the producers, directors, writers, actors,
critics, novelists, editors, journalists, artists,
scholars, reviewers, and fans whose work appears in this book. These many thousands of
people have labored since 1992 to establish
Buffy and Angel as worthy subjects for
thought, inspiration, and reﬂection. Without
their work, this book would not be possible.
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A project of this size could not have succeeded without a great deal of help. First and
most importantly, I would like to thank my
wife, Marji McPherson, for her patience and
perseverance over the ﬁve years of this project.
You were a champ, honey!
I would also like to thank my wonderful
volunteer team of editors (in alphabetical
order): Linda Ackers, Carrol Barton, Andrea
Baughman, Mary Baxter, Denise Bernard,
Ruth Bichsel, Jeffrey Borrowdale, Terria
Burch, Ellen Cantor, Alison Conner, Amy
Derby, Daryll Lynne Evans, Jay Frasier,
Kendra Gilds, Marni Hancock, Jeff Hanes, Jeff
Harrison, Andy Hopkins, Sharon Kimble,
James Kiser, Judy McKenzie, Linda McPherson, Patsy Raney, Wendy Simmons, Lance
Sparks, Betsy VanderSchaaf, Brad Willett,
Toni Willett, Shelley Williams, and Laura
Wimberley. Barbara Maio and Francesco
Spreaﬁco gave advice on Italian language re-
vi
Table of Contents
Acknowledgments
Preface
Introduction
User’s Guide
B. Individual Short Stories
C. Foreign Language Editions
vi
1
Section 7. Comic Books
3
A. Dark Horse Comics
B. IDW Comics
C. Other Licensed Comics
D. Comic Book Art
E. Foreign Language Editions
F. Reviews
5
Film
DVDs
Movie Script
Reviews
Section 2. Television Episodes
Buffy Seasons 1–7
Angel Seasons 1–5
Trailers
Undeveloped Productions
Reviews
Section 3. Television DVD
Sets
A. North American DVD Sets
B. European, Australian and
Asian DVD Sets
C. Reviews
Section 4. Television Scripts
A. Published Scripts
B. Shooting Script Reprints
C. Unpublished Scripts
Section 5. Novels
A. Buffy and Angel Novels
B. Foreign Language Editions
C. Reviews
Section 6. Short Stories
A. Short Story Collections
Section 8. Audio
13
14
23
31
31
31
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A.
B.
C.
D.
E.
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11
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A.
B.
C.
D.
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Section 1. Buffy the Movie
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I. LICENSED
(PRIMARY) MATERIALS
37
39
A. Audiobooks
B. Soundtrack CDs
C. Reviews
Section 9. Games
A. Board Games
B. Card Games
C. DVD Game
D. Role-Playing Games
E. Video Games
F. Unpublished Projects
G. Reviews
Section 10. Fan Magazines
A. MVP Ofﬁcial Magazines
B. Titan Ofﬁcial Magazines
C. Other Genre Fan
Magazines
D. Celebrity Magazines
E. Partworks
F. Foreign Language
Magazines
41
43
44
45
45
47
48
49
51
56
Section 11. Other Licensed
Materials
A. Books
B. Promotional Posters
C. Trading Cards
D. Miscellaneous Materials
57
58
vii
58
59
59
62
73
79
79
81
83
85
85
85
87
88
89
89
89
89
90
91
91
92
93
94
103
109
110
111
111
112
113
114
116
viii
Table of Contents
II. UNLICENSED
(SECONDARY) MATERIALS
Section 12. Books
Section 20. Conference Papers
and Reports
122
125
A. Academic Conferences
and Symposia
B. Conference and
Research Papers
125
126
127
Section 13. Essays and Book
Chapters
Section 21. Derivative Works
and Parodies
Section 14. Journal Articles
191
192
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A. English Language Articles
B. Foreign Language Articles
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Section 18. Interviews
A. Joss Whedon
B. Television Writers and Producers
C. Actors
D. Television Talk and Comedy
Shows
E. Other Creators
F. Collected Interviews and
Panel Discussions
235
A. Art and Graphic Design
B. Comic Books and Strips
C. Fan Fiction
D. Fan Vids
E. Live Theatre, Poetry,
and Events
F. Movies
G. Music
H. Podcasts and Online Audio
I. Scientiﬁc and Technical
References
J. Television
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131
132
133
190
A. Reference Book Articles
B. Essays and Book Chapters
C. Foreign Language Essays
A. Broadcast Segments
B. Documentaries
C. Reviews
A. English Language
Dissertations
B. Foreign Language
Dissertations and Theses
120
120
121
A. General Books
B. Essay Collections
C. Reference, Companion, and
Guide Books
D. Biographies of Actors
E. Miscellaneous and Special
Interest Books
F. Foreign Language Books
G. Reviews and Review Essays
Section 15. Magazine
Articles
Section 16. News Articles
Section 17. Broadcasts and
Documentaries
Section 19. Dissertations and
Theses
262
263
266
267
267
268
272
274
274
275
277
279
279
279
280
280
281
250
250
251
252
Section 22. Websites
Section 23. Bibliographies
282
252
253
257
258
Appendix A: Wikipedia
Appendix B: Cast and
Creators
Appendix C: Episode Title
Index
Index
285
260
261
261
284
292
294
297
Preface
see God and the soul at work in the characters
and themes. Most see a way to live in the
world with bravery, honesty, and integrity.
Some gain reinforcement for their existing
worldview, while others are deeply challenged.
A few, through the journeys of Buffy, Willow
or Spike, have experienced a sort of personal
epiphany, perhaps ﬁnding a tool to heal pain
and trauma, or to ﬁnd acceptance.
In the history of television, Buffy
occupies a strange and intriguing place. No
other TV show has attracted as much intellectual and academic attention. The results of
that attention make up a large part of this
book. Similarly, media critics loved Buffy. In
all the reviews I’ve read, it is rare to ﬁnd a bad
one. Several episodes (“The Body,” “Hush,”
and “Once More, with Feeling”) are routinely
considered amongst the ﬁnest television episodes ever produced. The show always places
in the top tier of those ubiquitous “100 Best
TV Shows” or “Top 10 Cult TV Shows” that
appear in magazines like Entertainment
Weekly. At the same time, Buffy never attained
a mass following, and was only moderately
successful in commercial terms. The show is
often labeled as “cult TV,” along with series
like The X-Files, Twin Peaks, and Star Trek.
There are several important keys to understanding the Buffyverse. First, Buffy resists
easy categories and characterization. Second,
it rewards deep examination and sustained interpretation. I think fans from the beginning
understood this intuitively. They realized that
something bigger was going on below the
surface. Scholars have used terms like “lami-
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On January 19, 2011, I was one of 150
people packed into the public library in downtown Portland, Oregon, for a thirtieth
birthday party. The party was for Buffy Summers, a ﬁctional character. There was cake, a
rousing chorus of “Happy Birthday,” trivia
contests (the star was a 6-year-old girl), and
“Hush” Pictionary. The editor of Dark Horse
Comics answered questions on the next stage
of our hero’s journey and described how Buffy
comics had propelled his independent publishing house to the top tier of comic book
publishers. Many other parties were organized
around the country.
Simultaneously, academics were happily
planning the ﬁfth International Slayage Conference on the Whedonverses, organized by
the Whedon Studies Association, and were
preparing to award the Mr. Pointy Award for
the best published academic work on Buffy
and Joss Whedon. Buffy Summers still exercises a compelling hold over the minds and
hearts of thousands of people, from young
girls to the most jaded critic. Why would a
seemingly simple television show create such
a reaction? What depths lie beneath that silly
name? What drives critics, scholars, artists,
novelists, journalists, television and comic
book fans to ponder, with great passion, all
that is Buffy the Vampire Slayer?
The answers are legion. Fans worldwide
bring to Buffy their own set of expectations
and desires. Because the show is so layered,
subtle, and sophisticated, it seems to meet and
satisfy those desires. In Buffy the hero, many
see empowerment for girls and women. Others
1
2
Preface
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and directors have had a major impact on Hollywood. Buffy and Angel launched the careers
of dozens of actors. Most succeeded; some
faded into semi-obscurity. Whatever their
fates, there is a single constant: Buffy or Angel
always feature proudly on their résumés.
Buffy and Angel, along with Joss Whedon’s other works such as Fireﬂy, Serenity,
Dollhouse, and Dr. Horrible, continue to inspire huge enthusiasm. Whedon’s fans are famously loyal, and always ready to respond to
the latest rumor. Accordingly, poking Buffy
fans with a pointed stick has become a favorite
sport amongst Hollywood agents and publicists. This fan enthusiasm has gone into overdrive with the prospect of a new Buffy movie,
as well as The Avengers, a high-proﬁle superhero movie directed by Whedon, set for 2012
release.
But beyond all the hype and gossip, millions of people from all walks of life hold a deep
and abiding love for a strange, enthralling TV
show that had the capacity to make them laugh,
weep, think, fume, marvel, imagine, write, create; to gasp in wonder and snicker at the silliest
pun, sometimes in the same moment.
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nated” and “polyvalent” to describe this phenomenon. A simple analogy might be peeling
back the layers of an onion. Almost all fans of
Buffy and Angel have experienced this feeling
that there is much more. This is one of the
reasons that academic attention to Buffy has
been so extensive, and why the corpus of
Buffyverse fan ﬁction is one of the largest and
most imaginative in existence. The show
opens up vast spaces for interpretation, reinvention, and reﬂection. Politically and culturally, appreciation of Buffy is amazingly diverse.
Conservatives like Jonah Goldberg of The National Review and Jonathan Last of The Weekly
Standard share the same enthusiasm as Gail
Collins of The New York Times and Laura
Miller of Salon. Columnists from Christianity
Today write glowingly about Buffy alongside
writers from AfterEllen and The Advocate.
Some interpret Buffy as the repudiation of patriarchy and transnational capitalism, while
others see the reassertion of personal responsibility, strength, and morality. For a show created by an atheist, there are an amazing number of interpretations based on religion and
faith. As Whedon once said: “Bring your own
sub-text.”
Although Buffy and Angel have disappeared from television, both continue in comic
book form, and the creative forces behind
them are still producing brilliant work.
Creator Joss Whedon has developed a stellar
career in movies, television, comics, the web,
and as an activist for human and women’s
rights. Marti Noxon, Jane Espenson, Tim
Minear, Drew Goddard, David Greenwalt,
David Fury and many other Buffyverse writers
LAST LINES
WILLOW: “The First is scrunched so ... what do
you think we should do, Buffy?”
FAITH: “Yeah, you’re not the one and only Chosen
anymore. Just gotta live like a person.
How’s that feel?”
DAWN : “Yeah, Buffy. What are we going to do
now?”
Buffy Summers gazes into the future, and smiles....
(Buffy the Vampire Slayer 7.22 “Chosen”)
Introduction
divide fans and critics. Inevitably, it pales in
comparison to its TV descendant, but some
have argued that it should be evaluated in its
own right as campy, proto-feminist, and enjoyable (Rechtshaffen and Stangl). Headliner
Kristy Swanson, despite a creditable performance, never achieved further success. The
movie turned out to be the high point of her
career. Director Fran Rubel Kuzui sank without trace; her name lives on mainly in the
continued disdain of Whedon fans. On the
other hand, it revived Paul Reubens’ career
with his bravura death scene, and launched
Hillary Swank on her path to movie stardom.
The movie also boosted the careers of David
Arquette, Thomas Jane, Natasha Gregson
Wagner, and Stephen Root. Ben Afﬂeck, Ricki
Lake, and Seth Green appeared as extras (Internet Movie Database).
The writer, Joss Whedon, tucked his disappointment into his back pocket and returned
to a career working on movie scripts. He was
nominated for an Oscar in 1995 for Toy Story.
Oddly, Whedon was not the prime mover behind the television revival of Buffy (Moore). In
1996, producer Gail Berman discovered that
Fox had (inexplicably) failed to secure TV
rights in the original movie contract (Daniels
and Littleton 118). This provided a legal opportunity for Whedon to take the Buffy
characters to television. At the time, nobody
expected Whedon to give up a lucrative moviewriting career to revive a failed concept, but
he decided to take up the challenge.
Whedon and Berman pitched the idea to
the WB, a ﬂedgling mini-network. WB exec-
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Joss Whedon developed the idea for Buffy
around 1988, while working as a staff writer on
Roseanne. His original concept, oft quoted,
came from “seeing too many blondes walking
into dark alleyways and being killed. I wanted,
just once, for her to ﬁght back when the monster attacked, and kick his ass” (Havens 21). He
optioned the script to Sandollar Productions
in 1988, and three years later, the producers
Kaz and Fran Rubel Kazui picked up the project. Fox funded the movie in return for worldwide distribution rights. The movie was a summer release in 1992. In production, the script
was heavily amended by the director, Fran
Rubel Kuzui. The result was a shift in tone
from what Whedon had envisaged. Instead of
Whedon’s concept — a “scary ﬁlm about an
empowered woman” (Havens 23)—the movie
devolved into camp comedy. Some of the cast
also improvised dialogue (badly), and the
shooting was compressed into a frantic 29 days
(Backstory), with a tense and unhappy set.
Whedon watched helplessly as his idea went
awry, and eventually he left the set entirely
(Moore).
The movie did good business in theaters,
returning twice its bare-bones $7million to $8
million budget (Internet Movie Database).
Critical reception was lukewarm at the time,
with descriptions like “bloodless,” “lifeless,”
and “modest” being typical. In the New York
Times, Janet Maslin damned it with faint
praise, calling it “a slight, good-humored ﬁlm
that’s a lot more painless than might have been
expected.” She called Whedon’s script “uneven
but bright” (Maslin). The movie continues to
3
4
Introduction
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Jensen, who championed the new show at Entertainment Weekly. By the end of Season 1,
Buffy was on a powerful burn to critical success,
although ratings remained low. Fortunately, the
WB decided to take a chance, and the show
beneﬁted from greatly improved writing,
budget and production values in Season 2
(Moore). Nevertheless, the ultimate accolade—
a Best Show Emmy—always remained out of
reach, a snub that still rankles with some critics.
Scholars also began to pay attention. The ﬁrst
articles approaching Buffy from an academic
viewpoint appeared in 1998, along with guidebooks from Nancy Holder and Nikki Stafford.
In 2001, Reading the Vampire Slayer, the ﬁrst
book-length academic treatment, was published in the UK, followed soon by Fighting
the Forces. By this point, Buffy was a full-ﬂedged
cultural, critical and popular phenomenon.
Angel was spun off in 1999, and earned its own
dedicated fanbase and critical success, although
it was quite a different show in tone and philosophy. Buffy ended in May 2003, followed
by Angel a year later; but the afterlife of the
Buffyverse had only just begun.
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utive Susanne Daniels bought the series in
one meeting. There were many perilous moments in casting, but Whedon persisted, and
gradually the core cast of relatively unknown
actors began to coalesce: Sarah Michelle Gellar,
a teen soap starlet; Nicholas Brendon; Anthony
Stewart Head (best known at that point for a
coffee commercial); David Boreanaz; and
Charisma Carpenter. The pilot episode was
rough and barely watchable, and the project
seemed close to failure. At the pilot screening,
Susanne Daniels pleaded for the show, against
some opposition. WB head Jamie Kellner
ﬁnally agreed, provided that the part of Willow
was recast (the role eventually went to Alyson
Hannigan). The concept of the Hellmouth was
also thoroughly reworked at Kellner’s insistence.
In March 1997, Whedon launched Buffy
the Vampire Slayer on television. For the ﬁrst
time, he was in charge of his own creative destiny: “As far as I am concerned, the ﬁrst
episode of Buffy was the beginning of my career. It was the ﬁrst time I told a story from
start to ﬁnish the way I wanted.”
Buffy began promisingly with a wellcrafted publicity campaign from the WB. First
reactions from audiences and critics were
mixed. Many were expecting the campiness of
the movie, and were disconcerted by the darker
tone. When I saw the ﬁrst episodes, I found the
approach unexpectedly violent. My wife, who
is made of sterner stuff, encouraged me to stick
with it, and by the third or fourth episode, I
was experiencing a gradual and subtle epiphany.
Something was happening here. I remember
thinking: “I’d better start taking notes.” Many
others had the same idea. People started paying
serious attention. Newspaper and magazine
critics were among the ﬁrst to notice Buffy. At
a time when the show was little more than a
blip on the public consciousness, Buffy captivated journalists such as David Bianculli, Matt
Roush, and especially Ken Tucker and Jeff
WORKS CITED
Backstory: Buffy the Vampire Slayer. Dir. Stacey Dowdy
Travis. AMC. Season 3, episode 3. First broadcast 20
May 2002.
“Buffy the Vampire Slayer (1992)—Trivia.” Internet Movie
Database. Web.
Daniels, Susanne, and Cynthia Littleton. Season Finale:
The Unexpected Rise and Fall of the WB and UPN. New
York: Harper, 2007. Print.
Havens, Candace. Joss Whedon: The Genius Behind Buffy.
Dallas: BenBella, 2003. Print.
Maslin, Janet. “She’s Hunting Vampires, and on a School
Night.” New York Times 31 July 1992: C8. Newspaper
Source. Web.
Moore, Robert. “Joss Whedon 101: Buffy the Vampire
Slayer.” PopMatters 8 March 2011. Web.
Rechtshaffen, Michael. “Buffy’ll Slay You, Too: Surprisingly, a Quasi-Feminist Hoot.” Financial Post (Toronto)
10 August 1992: S6. LexisNexis Academic. Web.
Stangl, Chris. “Rough Draft: The Original of Buffy.”
The Exploding Kinetoscope 6 August 2009: n. pag. Web.
User’s Guide
This book is divided into two major
parts:
Reviews: There is one exception to this
division: reviews are included with the source
materials. Reviews of the Buffy movie, TV
episodes, DVD sets, novels, comic books,
games, and books are included with the appropriate section.
I. Licensed (Primary) Materials
II. Unlicensed (Secondary) Materials
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I. Includes everything ofﬁcially licensed
by the legal license-holders (Fox Television
and Mutant Enemy). Another way to look at
this section is as “primary” material. It
includes all the texts of the Buffyverse: the
movie, TV episodes, DVDs, scripts, novels,
comic books, CDs, and games. Also included
are licensed peripheral materials in print format, such as fan magazines, posters, and trading cards. These are often called collectibles.
Non-print collectibles (such as ﬁgurines, lunch
boxes, Spike puppets, and “Kiss the Librarian”
mugs) are not included.
However, not all of this primary material
is considered “canonical” by fans, who tend to
have a more restricted view of what constitutes
the basic text of the Buffyverse. According to
the extensive Wikipedia article on the subject
(“Buffyverse Canon”), the ofﬁcial canon is
conﬁned to the two TV series, and seven of
the comic book series.
II. Covers unlicensed or secondary materials. These are not sanctioned by the license
holders, and are generally independent commentaries, analyses, reimaginings, or discussions about the original texts. These include
books, essays, articles in journals, magazines
and news sources, TV documentaries, interviews, dissertations and papers, and derivative
works such as parodies, fan ﬁction, and fan
videos.
ORGANIZATION OF
SECTIONS
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There are 23 sections in the book, based
on the formats of the information. Each of the
23 sections has a consistent organization. The
sections are organized as follows:
1. A Table of Contents for the section.
2. A short Introduction to the section.
3. How to Read the Bibliographic Citation: Details on how to interpret the
MLA-style bibliographic citation for the
section.
4. On the Web: A list of Web resources relevant to the section.
5. Number of Citations: The number of
bibliographic citations in the section.
BIBLIOGRAPHIC
FORMAT
Bibliographic citations in this book follow the recommended style of the MLA
Handbook for Writers of Research Papers, 7th
ed. (2009). Major changes in this MLA
edition include: using italics rather than un5
6
User’s Guide
pire Slayer and Angel) is not italicized when it
appears within another title (see MLA Handbook 3.6.4).
derlining for titles of independently published
works (such as books, periodicals, DVDs,
CDs, websites, and ﬁlms); adding a format
note to the end of each citation (Print, Web,
CD, DVD); and generally omitting the URL
for web resources.
There are several exceptions to MLA bibliographic style in this book. If you are using
these citations for research papers or publication, please be aware of these changes.
Battis, Jes. Blood Relations: Chosen Families
in Buffy the Vampire Slayer and Angel. Jefferson: McFarland, 2005. Print. 200p.
Genge, Ngaire E. The Buffy Chronicles: The
Unofﬁcial Companion to Buffy the Vampire
Slayer. New York: Three Rivers, 1998. Print.
253p.
1. To make it easier to visually navigate
around the text, names of authors are in bold,
and the full authors’ names are repeated entry
by entry, rather than employing “three hyphens” as recommended by MLA.
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Bianculli, David. “WB & Buffy Stake Out
Tuesday.” New York Daily News 7 January
1998: 63. LexisNexis Academic. Web.
Ruditis, Paul. Buffy the Vampire Slayer: The
Watcher’s Guide 3. New York: Simon, 2004.
Print. 368p.
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Bianculli, David. “UPN’s Stake in Vampire Slayer Is Bigger Than Buffy.” New York
Daily News 16 July 2002. Newspaper Source.
Web.
However, if the title Buffy the Vampire
Slayer is separated from the subtitle, it remains
italicized.
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2. Citations for monographs (books, dissertations, scripts, and comic books) include
the number of pages at the end of the
citation, since this can be useful information.
Wilcox, Rhonda V. Why Buffy Matters:
The Art of Buffy the Vampire Slayer. New
York: Tauris, 2005. Print. 256p.
Wilcox, Rhonda V., and David Lavery,
eds. Fighting the Forces: What’s at Stake in Buffy
the Vampire Slayer. New York: Rowman and
Littleﬁeld, 2002. Print. 290p.
3. Citations for some formats have been
adapted and simpliﬁed. These include TV
episodes, DVDs, scripts, comic books, games,
websites, and fan magazines.
NOTES ON TITLES
The MLA Handbook recommends that a
normally italicized title (such as Buffy the Vam-
The MLA Handbook also recommends
capitalization of major words in Englishlanguage titles, such as nouns, pronouns,
verbs, adjectives, and adverbs. Articles,
prepositions, conjunctions, and inﬁnitives
are not capitalized, except when they begin
or end a title, or follow a colon (see MLA
Handbook 3.6.1). In other languages, major
words in titles (except proper nouns) are
not capitalized. In German, both proper and
common nouns are capitalized (see MLA
Handbook 3.8).
Golden, Christopher, Nancy Holder, and
Keith R. A. DeCandido. Buffy contre les vampires: Le guide ofﬁciel. Trans. Isabelle Troin.
Paris: Fleuve Noir, 1999. Print. 308p. Translation of The Watcher’s Guide.
Golden, Christopher, Nancy Holder, and
Keith R. A. DeCandido. Buffy im Bann der
Dämonen: Der ofﬁzielle Serienguide, Band 1.
Trans. Christiane Jung. Stuttgart: Panini,
2001. Print. 298p. Translation of The Watcher’s
Guide.
Holder, Nancy, Christopher Golden, and
Keith R. A. DeCandido. Buffy the Vampire
Slayer: The Watcher’s Guide. New York: Simon,
1998. Print. 298p.