Harry Potter is just a Buffy Redux
6 July 2009
Brian Lynch showed us that 30 Rock is a rip-off of the Muppets, but the Tina Fey comedy is not the only show with bizarre parallels to another.
J.K. Rowling’s Harry Potter novels and Joss Whedon’s Buffy the Vampire Slayer, both released the same year, are eerily similar. The parallels cannot be intentional, but let me present the evidence and you can be the judge.
What follows is a comparison of several major and minor characters in both the novels and the series1 describing the roles they play. Could so much similarity be coincidence?
The Protagonist
The protagonist is intense and driven. Gifted with powers far beyond those of his compatriots, The Protagonist is attractive and a natural but unwilling leader. She quickly finds herself isolated by the stress of her position, which leads to aggression and anger even against friends and allies. The protagonist has little respect rules and authority, and as such is constantly in trouble with The Authority Figure. Due to the supernatural nature of The Protagonist, he is the only thing that shields the world from evil, and she is continually tasked with covertly saving the day from ever-more-powerful enemies.
The Brainy Best Friend
Pretty, but bookish, the brainy best friend is a whiz at everything, possessing smarts and a diligent study ethic. This excess of brains and resourcefulness is balanced by social awkwardness. Then intense curiosity and intellect leads her to dabble in more powerful magics than she aught. Ironically, she finds herself attracted to The Right-Hand Man.
The Right-Hand Man
The Right Hand Man lacks the attractiveness and charisma of the Protagonist. He’s usually the comic relief of the bunch, and finds himself caught in awkward and embarrassing situations. Although he acts the coward, beneath lies a backbone that shows itself in the face of evil and adversity.
The Standoffish Mentor
Aloof and anachronistic, this knowledgeable older man is both an asset and a puzzle to the Protagonist. He usually goes by only his last name. He offers clues and knowledge, but saving the day is always left to The Protagonist. Behind his wire-rimmed glasses is a steely interior that belies his bad-boy youth.
The Fantasy
The Fantasy is the man of the protagonist’s dreams. He represents the normalcy and perfection that the protagonist desires, but the reality of the Fantasy’s past prevents this dream from becoming real. The Fantasy is ragged on the edges, on the verge of unhinged, and is forcibly excised from The Protagonist’s life.
The Authority Figure
While they’re both on the same side, The Protagonist and The Authority Figure are continually at odds. The Protagonist and his friends often interpret The Authority Figure’s motives as evil, when really they come from the character seeing the world in a different way, having different information, and protecting his own interests. The Authority Figure can’t stand The Protagonist, but reluctantly finds himself helping her when danger is imminent.
The Rebellious Werewolf
This brilliant, quiet, scrawny male transforms into a feral vicious beast once a month, which his school friends help him hide, and restrain him from harming innocents. He lacks respect for authority, intentionally violating the rules. This character always finds himself playing second or third fiddle, where he is a competent but unexciting ally.
The Rival
Rich, attractive and self-centered, The Rival and The Protagonist continually find their paths crossing, despite the fact that there is no love lost between them. They constantly compete. The Rival feels extreme social pressure to be something he really isn’t cut out to be, often acting cruelly to those she finds weak or unattractive. Yet The Rival often finds himself laughed at by others during her moments of weakness.
The Mother Hen
The working-class Mother Hen is a frumpy and stressed-out worrywart who constantly fusses over The Protagonist. She always acts in the best interest of the kids, to the point of being a hindrance to them stopping evil forces. Although initially kept in the dark about the kids activities, when she comes face-to-face with what The Protagonist faces, she becomes a steely protector.
The Supernatural Schoolyard
Although a beautiful, welcoming place during the day, the setting is home to monsters and creatures of great power. Travel outside at night is quite dangerous. Despite this, the main characters are constantly sneaking around academic hallways late at night. The setting is a place of great power, which draws trouble to it. The melodramatic antics of high school provide a constantly shifting backdrop over which the child characters are constantly struggling with adult intrigue and danger.
I agree with EVERYTHING and love the comparison except for the moms, I can’t think of one time when Joyce worked for Buffy or the forces of good, I mean for goodness sakes, she finds out her daughter is the chosen one standing between the world and evil and she kicks her out of the house!
I really detested Joyce…
You’re comparisons of Oz and Lupin are completely off – since when was Lupin ever an authority-hating rebel??
Ok… I’m outing myself as a Buffy fan in saying this, but in addition to the observations made above, I would have to say the Snyder Snape connection is pretty full of holes.
Snyder is ineffectual and transparent. Plus, he dies halfway through the series.
Snape remains throughout the story to be ambiguous and multi-dimensional. He is a vehicle for many plot twists. He persists throughout the series and plays a vital role in many developments.
Also- Cordelia is annoying socially, but not an enemy. Malfoy is actually scheming and conspiring against Potter. Plus Cordelia ends up on the side of good as soon as the Angel series begins.
Further, I agree with Melissa wholeheartedly. Joyce just sucks.
Nonetheless, I think it’s a great parallel. Everything else you’ve mentioned is pretty astute.
Good article. I don’t agree 100%, but you make some good points. I doubt, though that either Joss Whedon or JKR copied each other’s ideas. You seem to acknowledge that, but the title of the article implies that you think HP is a “redux” of BtVS. Both Joss Whedon and JKR lost their mothers. Both Harry and Buffy experience a number of tragic losses throughout the stories. Harry loses his parents, Cedric, Sirius, Dumbledore, Lupin, Tonks, Fred, Dobby, ect. Buffy loses her mother, Angel (even though he comes back from hell), Anya, Tara, and SEASON 8 SPOILER ALERT!!! Gile (not to mention Angel losing Doyle, Cordelia, Fred, Wesley, ect).
Cordelia certainly was the rich, snobby antagonist like Malfoy at first (both offered then withdrew the offer of friendship when Harry and Buffy befriended so-called outcasts). The major difference was that Cordelia was very brave and became heroic and chose to fight with Buffy (and later Angel) as soon as she faced the reality that there were evil forces. Draco tried to get back on Voldemort’s good side right up until the very end. He eventually joined the side of good when it was clear that was the winning side. He wanted to protect his family, but never really did anything heroic.
As far as Lupin and Oz, well I’d hardly call them boring or rebellious. They are both very easy going. Oz leaves Willow when he feels he is a danger to her and Lupin almost does the same to Tonks. They both have friends lock them up during the full moon. Oz is more laid back than rebellious. Lupin only really rebels against the Ministry of Magic.
Snyder is more like Umbridge than Snape. Snape actively fought on Harry and Dumbledore’s side several times. The most heroic think we can say about Snyder is that he wasn’t fully aware of the Mayor’s intentions. He was a stooge for the Mayor like Umbridge was a stooge for the MoM. She constantly tried to get Harry expelled because he was getting in the way of the MoM. It’s unclear if Snyder targeted Buffy so much because she was a threat to the Mayor.
I know that Joss is a huge HP fan, and I’m curious how JKR feels about Buffy.