He's known that he was becoming irrelevant as early as s4, if not from the moment in WttH when Buffy spotted the vampire without having to "hone."
Here's a thought: Giles' and Willow's central internal conflicts over the series are very similar. They're both characters who think they know a great deal, who amass knowledge through studies, and end up having to learn how to unlearn and figure out instead. Their brains are full of a prioris that Must Not Be Challenged, unlike Buffy who tends to look at things fresh and then decide how she feels about them ("Note to self: religion freaky."). Giles and Willow deal with this in different ways - Giles more gradually and less drastically, but also far less in general; he never has his entire belief system shaken to its core the way Willow does several times.
There was a recent discussion on Buffyforums wherein norwie stated that he felt that Tara was intended as a kind of an earth-mother self-sacrificing forgiveness archetype, but I think that actually goes against the Tara in the show
I'd say there's something to it, except that I'm not sure the earth mother archetype is necessarily completely self-sacrificing to the point of allowing anything. Hell, going by Buffy alone, even Joyce got to hit Spike over the head and call Buffy on her antics once or twice (then again, I've seen fans hate on her and call her "the least supportive mother ever" for not being a doormat, so hey.) Also, I'm not sure any of the Buffy characters can be made to fit perfectly in any one archetype.
Also, obviously, congrats on the award btw! Well deserved -- it was a great and fun (and not entirely lighthearted, W&H seduction with the Strawberries of Darkness from Wrecked/Two to Go recast and all) (I can't believe I didn't comment on it at the time -- where was I anyway?).
Thanks! And I agree, there's definitely some darkness in there. I tried to put in hints (under the fresh coat of paint, so to speak) that these were two women, Willow especially, who were very aware that they both have the capacity for true darkness and/or madness within them, which is no less important if they're both going to be working at W&H. (I put Knox in there just to hint that they'll still have to face the Illyria plotline.) And Willow essentially deciding that fuck it, she can't go through life limiting herself to situations where she'll never risk anything. This isn't overcoming darkness, it's deciding to play the odds.
And I will check out your stuff as well - sorry I haven't already. I didn't want to do it as long as you're on your sabbatical,though. :)
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Here's a thought: Giles' and Willow's central internal conflicts over the series are very similar. They're both characters who think they know a great deal, who amass knowledge through studies, and end up having to learn how to unlearn and figure out instead. Their brains are full of a prioris that Must Not Be Challenged, unlike Buffy who tends to look at things fresh and then decide how she feels about them ("Note to self: religion freaky."). Giles and Willow deal with this in different ways - Giles more gradually and less drastically, but also far less in general; he never has his entire belief system shaken to its core the way Willow does several times.
There was a recent discussion on Buffyforums wherein norwie stated that he felt that Tara was intended as a kind of an earth-mother self-sacrificing forgiveness archetype, but I think that actually goes against the Tara in the show
I'd say there's something to it, except that I'm not sure the earth mother archetype is necessarily completely self-sacrificing to the point of allowing anything. Hell, going by Buffy alone, even Joyce got to hit Spike over the head and call Buffy on her antics once or twice (then again, I've seen fans hate on her and call her "the least supportive mother ever" for not being a doormat, so hey.) Also, I'm not sure any of the Buffy characters can be made to fit perfectly in any one archetype.
Also, obviously, congrats on the award btw! Well deserved -- it was a great and fun (and not entirely lighthearted, W&H seduction with the Strawberries of Darkness from Wrecked/Two to Go recast and all) (I can't believe I didn't comment on it at the time -- where was I anyway?).
Thanks! And I agree, there's definitely some darkness in there. I tried to put in hints (under the fresh coat of paint, so to speak) that these were two women, Willow especially, who were very aware that they both have the capacity for true darkness and/or madness within them, which is no less important if they're both going to be working at W&H. (I put Knox in there just to hint that they'll still have to face the Illyria plotline.) And Willow essentially deciding that fuck it, she can't go through life limiting herself to situations where she'll never risk anything. This isn't overcoming darkness, it's deciding to play the odds.
And I will check out your stuff as well - sorry I haven't already. I didn't want to do it as long as you're on your sabbatical,though. :)