#empowered heroines

[joncronshawauthor]

The Heroines Who Wear the Crown: Princess Protagonists in Modern Fantasy

From magical kingdoms to epic quests, princess protagonists have long captivated readers of fantasy literature. While early fantasy works often portrayed princesses as damsels in distress or prizes to be won, modern takes on the archetype have brought nuance, depth and agency to these royal heroines.  Let’s explore some of the most influential princess protagonists in contemporary fantasy…

[comicsart3]

Empowered takes down another bad guy with a full-timer super punch. I think this page comes from a story after Emp’s elevation to full-member status of the Superhomeys. I’m not sure who the defeated villain is, ignominiously bound in cables by the diminutive super heroine after she has kayoed him, but I rather like the meta-human camaraderie between them despite the fact the villain is now presumably on his way to prison.

With thanks to Mats Karlsson for letting me have this page from his impressive collection.

[kaosbeast]

The Women of Marvel: Paving the Way for Female Superheroes

Hello, Marvel Universe fans! Today we’re celebrating the powerful women who help shape the Marvel Cinematic Universe (MCU). From Black Widow to Wanda Maximoff, let’s delve into the journeys of our favorite female superheroes. Black Widow: The Lethal Spy Natasha Romanoff, a.k.a. Black Widow, is a former Russian spy who became a core member of the Avengers. With her unmatched combat skills,…

[idiosyncraticrednebula]

The more "empowered" Disney tries to write their heroines as, the less interesting and charismatic they become, ironically.

[knifebucket]

the tiktok millenials are trying to tell me that low rise jeans and skinny brows are coming back and everyone keeps throwing around "heroin chic" like it wasn't a disaster the first time around but as a naturally dense fat thick curvy woman idgaf because Lizzo is selling lingerie for big bodies and I see ads for plus size women to buy clothes they look cute in on any platform regardless of if I'm on my account or someone else's and I saw 10 very hot ladies on the apps this afternoon who confidently said bbw without trying to hide it and people who read tiger beat can suffer through low rise jeans and skintight camis if they want to but the rest of us are gonna be perfectly fine without trying to make ourselves suffer through that nonsense

[ratrrriot]

How do you feel when people call Amy a stalker?

People can call her what they want, however…

Do i think it's fair to call Amy a stalker?

In some of the games? Yes, and even in some of the ones she wasn't a stalker per-se, she still showed possessive and obsessive tendencies. So i get where it comes from...

Generally? No. Her character originally wasn't supposed to be a harasser and she sure isn't one in the present. the franchise has been clearly trying to do better for her these past few years.

I think Amy's changing characterization is an interesting topic of discussion, so even though i technically already answered your question i'll take this chance and proceed to talk about my fave for way longer than i need to :).

Note: This is just my take on Amy and the way i understand her ENGLISH PORTRAYAL. I won't be talking about her japanese one which would deserve its own analysis.

Sorry for any writing mistakes in advance (english is hard) and feel free to correct me if i'm factually wrong about something (i wrote this thing mostly from memory so i imagine i must be.)

Amy has changed A LOT troughout the games and has been in the hands of many different writers across Sonic media ,so when talking about her is important to be specific about what game,series or comic we are talking about (and language),and while i know that some of you might not agree and i respect that, i think that -looking at the subtleties- Amy has had at least 6 different portrayals through the course of the games. That being said,i believe the idea that she is a stalker comes especifically from the characterization they started giving her around 2003

Originally,Amy was envisioned as a sweet 12-year-old kid who had a huge unreciprocated crush on her idol and a passion for fortune-reading ,but who wasn't exactly much of a heroine herself. In the classic era,her place in the narrative was just to serve as a damsel in distress and a cute,funny detail. Ofc,in comics and animated shorts for games like Origins, we have gotten more content of classic Amy being fully independent and capable of defending herself (even more with the upcoming playable mode for her in Origins Plus), but i think we can all see how such aspects of her character weren’t included at the time she was created (only exception being Sonic Fighters)

Especifically in the adventure era (AKA the birth of modern Amy) they gave Amy her iconic strong,compassionate,romantic personality and an interest/love for adventure (and her sassy attitude ofc). She's outspoken,stubborn,brave and honest. I also want to point out that in this first portrayal ,her love for Sonic feels more like innocent childish idolization than an obsession and that her character doesn't revolve exclusively around it (she will stand in his way if she doesn't think what he does is right). Tbh i think she's incredibly funny,cool and lovable,

They slowly started planting the seeds for her character to stop being a "damsel in distress" by making her playable and defeat ZERO all on her own at the end of SA1,then also being playable in Sonic advance and helping Sonic get out of prison in SA2 (and tagging along for the rest of the adventure). In all these games,her character revolves around empathy,optimism and kindness. The way she protects the flicky since the moment she finds it,how she defends Gamma from Sonic and the iconic moment in SA2 where she convinces Shadow to help save earth are all great examples.

THEN, in Heroes , they decided to try something new with her taking her confidence and sassy attitude to a whole other level. Giving her the chance to be a fully-fleshed hero who didn't need rescuing anymore. She became independent and the leader of her own team of friends who she wanted to help. I love this Amy cause she feels really strong,determined and empowered without losing her peppiness,silliness,positivity and kindness. Her flaws are also especially endearing to me: How much of a wild kid she is,How even if she means well, she relies way too much in brute force, How she has trouble getting out of her own head, etc. She really feels just as confident and energic as Sonic,but just like him,you can tell she has a huge heart.

HOWEVER, as much as i love how they made her strength and bravery shine in this game, Heroes was the game that gave birth to the idea that Amy is willing to chase and even fight Sonic just to insist that they should marry (in SA2 she did follow him to the prison but it was only to help him and tag along in the adventure).

Ofc this was supposed to be comedic and to be seen as childish,harmless behavior- I say this because the rest of the characters,including Sonic himself,don't seem to take it seriously- but what was supposed to be seen as an endearing flaw at the time, would rapidly mute into what's probably Amy's worst portrayal ,as the writers turned it into harassment for the next mainline games (Ignoring Shadow the hedgehog where she is the same as in heroes and only has a brief appearance.)

Before i go into Battle,i just want to say that the definition of stalker according to google is “a person who harasses or persecutes someone with unwanted and obsessive attention.” A definition that definitely did not apply to her before Heroes,but that i can't deny that does apply to Amy for the next few games:

In Battle, Amy is suddenly written as aggresive and self-centered. All her compassion and empathy from the adventure era is gone, intimidating people (even Cream) and demanding information from them from the get-go. Of course she does a few good things throughout the game too,like take care of Emerl and such,but she still mainly uses him for her benefit (calories counter and emerald radar). Right off the bat,at the start of her storyline she insists on searching for Sonic even when she herself assumes he is hiding from her -which implies she knows what she's doing is worth hiding for- and tries to justify her behavior by saying that Sonic actually loves her and that he is being “ just shy “ or that “ he got cold feet”- while others characters react in a way that implies that's obviously not the case and that her behavior is worrysome..

I think it's important to mention that before Battle, we hadn’t gotten a single line of dialogue that implied that Amy tought that her behavior could be hurtful for Sonic, nor did she ever threaten anyone at all unless it was self defense. She knew he didn’t reciprocate her feelings and was actively trying to make him fall for her anyways,sure, but we gotta remember that while the canon ages might have been scrapped recently, at the time Modern Amy was created they were still very much canon and you can tell they had them in mind when writing these characters. Amy was supposed to be 12 ,so it makes sense that she didn't understand why Sonic wouldn’t accept her affection. She idolized him and misinterpreted the fact that he always was protecting her as possible romantic interest,but never actually imposed anything on him. The worst thing she ever did to him was wanting to hug him without consent,and again, the games implied that she clearly didn't realize such a thing wasn't ok. Sonic also didn't seem to want to hurt her feelings so while he did run away and expressed being annoyed by her he never explicitly told her to stop. I actually think that if he had sat her down and made it clear to her that what she was doing was truly bothering him, The Amy from the adventure era would have stopped, but i doubt he cared enough to do that honestly (after all ,in his recap screens it is implied that what truly bothers him about Amy being near him is not her crush,but that he thinks shes exposed to danger.)

BUT in Battle and for the next three games,Amy doesn’t seem to be written as a 12-year-old who mistakes admiration for love anymore. This is where the writers started to portray her as someone who is clearly still young and definitely childish but not innocent. Her whole character revolves around harassing Sonic and using her strength to intimidate others, and don't get me wrong,I like that Amy gets angry easily!! i like that she isn't afraid of a fight,that she complains a lot, and that she isn't peaceful. After all,those are important parts of who she is. But Battle!Amy is on a whole other level: she gets mad at her friends just because they don't agree with everything she does or says. It's not about having a strong personality anymore,she's just generally aggressive. For the next few games she and Sonic can't have one normal conversation that isn't Amy imposing her own wishes over him and him trying to get away from her, so it's hard to believe she wouldn't realize that what's she's doing is wrong nor accidental as we were supposed to before. This time It just feels like she is deciding to ignore the signs.

This continued in advance 3 ,where she literally threatens him with her hammer just cause he shows signs of not being interested in spending time with her when they meet, Then in rush she becomes possesive and jealous the second he mentions Blaze and also seems to treathen him with the hammer in the credits scene because he is running from her hug.

They changed the direction of her characterization again after Rush. The best way i can describe the Amy that is present in Riders,06,etc is one that has two very polarized sides to her personality. On one side,she is a peppy,sweet,over enthusiastic and romantic girl, on the other she is a pretty intimidating one with an obsession with Sonic and very fiery temper. However,contrary to her last portrayal,she is more polite and actually asks Sonic if she can come with him various times,doesn't harass him and doesn't threaten people simply cause they don't agree with her anymore, but she still doesn't seem to have any sense of boundaries,still follows Sonic without permission sometimes and still clearly has no consideration for his personal space. Another thing about this Amy is how her flirting is really intense, and even if she isn't as aggressive as the Amy from Battle,if someone messes a bit with her she doesn't hesitate to resort to intimidation or take her hammer out.

She still gets violent towards Sonic sometimes,but what's different from her last characterization is that instead of doing so merely because he doesn't show romantic interest in her ,its mostly because he doesn't follow on his promises (end of Black Knight) or shows up to save her “properly” (Referring to 1- that scene in Riders where he blows eggman -who had caught Amy- away with wind and she chases him with her hammer because “how could he not think that would hit her too “ and 2- the one in Zero Gravity where he arrives late to save her and she playfully throws him a few fists saying that “it took him long enough!”). I don't think she's necesarily right to do that but i don't consider it to be problematic either, since by that point the games had strongly implied that there was a non-spoken agreement between the two that he'll always show up to save her and the whole thing feels more playful than anything else. Mostly because Sonic seems to be fine with her being around again, as he never really denies her acussations or runs away when she gets mad,and even tries to explain himself to her.

So yeah,this Amy is one of the more famous -and infamous- ones,as her negative and positive qualities are more balanced than the one from Battle. However,i personally don't like her much as there's almost no focus on the empathetic/compassionate side of her character that was so prominent in the adventure era and ,even if i wouldn’t call this version of her a Stalker , she's still is way too obsessive and possesive for my liking. The writing for her character is still pretty much completely based on being attracted to Sonic, to the point that In 06 she tells Silver that, if she had to, she'd “choose Sonic over the world".

In Sonic Chronicles , Amy gets a lot of dialogue. She gets jealous in a scene but its not as bad as in Rush and she tries to make Sonic jealous by inventing a fake boyfriend (terrible trope) but her levels of aggressiveness are up to the player's treatment of her. I am ,however , mentioning this game because of a scene in specific near the final section in which Amy is scared they might die and aks Sonic if she can have a moment with him. She then tries to have a serious conversation and politely asks if he cares about her or if he likes her at all. if the player chooses to make Sonic say he does care for her she is legitimately surprised and thankful. Idk what happens If he rejects her cause i haven't been able to find any recordings of that and i never owned this game,but i'll assume that her reaction won't be too bad considering she is asking in the first place(?) feel free to tell me if you know…

This portrayal of Amy is still present in Unleashed (2008) ,in which Amy is there to cheer/support Sonic on throughout the game and to serve as an important indicator that Sonic is quite self conscious of his looks when he's a werehog. She is generally very sweet towards him in this game (especially when she shows no rejection towards his werehog form,which is a detail i adore), even if she does get annoyed when he doesn't pay as much attention to her as he does to Chip or reciprocate her feelings.

A good example is how, before the last temple ,she asks him if he'd like to go on a date with her after everything is over. If you choose the positive dialogue option she is ,again, positively surprised and thankful. If you make him say no she complains about how he's being mean, but doesn't insist on it and just accepts it.

In Free Riders (2010) ,Amy just generally acts extremely out out of character (like,she doesn't even fit into Battle's portrayal). It really feels like someone who didn't know anything about the character wrote her, so for the sake of the pink hedgie let's ignore it and go back to talking about portrayal 4.

I already mentioned her brief apparition in Black Night and there's nothing worth mentioning about her in Generations so i'll skip them.

This portrayal ended in Lost World (2013),In which they toned down Amy as a character in general,leaving out all of her flaws and iconic traits out. She feels plain and her strong personality,confidence,sass,energy,etc all seem to be completely gone. She's just sweet and that's it . For some reason there's a scene where she literally tries to confess to Sonic and is cut off before she can finish,which is very funny considering it had never been treated as a secret before??? it really goes to show how hard they were trying to pull some kind of reboot on her. Fortunately,this characterization was only a two-game-thing (She is just as plain in Forces (2015)) so i'll put it in the same bag as the Free riders one and we'll leave it at that.

After Lost world came Boom (2014) ,and then we got the most recent change of Amy's personality,which we all know has had a mixed reception from the fandom. Originally people thought that this Amy would stay just in the Boom universe ,but this personality has been showing up in the mainline games for a while now,like in Team Sonic Racing (2019) and Frontiers (2021).

This Amy feels older than any of the ones that came before her. She kept the sass,the love for romanticism,the positive attitude,the confidence and the strenght but her bad temper and over enthusiasm are gone,as she is generally more calm,less energetic and not childish at all. Most importantly,this Amy is extremely emotionally intelligent,as the rest of characters seem to look for her help and advice constantly ( to the point that she has been given the "therapist friend" title by the fandom and is even referred as "the nice one" by Eggman himself ). Another interesting thing about this Amy is that she doesn't flirt with Sonic anymore,In fact, she barely expresses her liking for him (She does so a bit more in Japanese chz the characterization varies) and Sonic seems completely comfortable with this version of her around.

A lot of people say that this version of her is out of character and I completely understand where that comes from, but i must disagree because this characterization of Amy is the first one since the adventure era that focuses on her compassion/empathy rather than on her crush on Sonic, which combined with her intelligence,makes her not out of character,just the most emotionally mature Amy to date instead. I actually think that if the og modern Amy had grown up,this is the kind of personality she would’ve developed while becoming an adult (although she isn't supposed to be one). A good argument to defend this point would be that one Egg-memo you can buy through the fishing minigame in Frontiers where Eggman talks about how Amy has "come a long way" and how it took her some time "to find herself" and get out of Sonic's shadow.

Only problem i have with this Amy is that i wish she was more flawed and bubbly,mostly cause she can come off as very plain from time to time and way too mature. She is a bit too perfect for my taste. I'd like her to mess up more,to not always be so smart,to be more impulsive,a little bit more clumsy,fiery and wild,just so she could have some more of the charm of the original,y'know?

Before i talk about her more recent Videogame portrayal (TMoSTH) i want talk about IDW Amy:

in IDW, all of Amy's flaws and positive traits from past games are balanced pretty well: she is flawed and relatable and can mess up a bit sometimes because of her impulsivity,but she's emotionally and strategically inteligent, optimistic and incredibly kind. She is a great fighter and leader,but also a wonderful friend who offers emotional support. She has a strong personality, lots of sass and can be very aggressive and intimidating towards her enemies, but not any less of an empathetic and compassionate person because of that. Her strength and confidence are pillars for her character instead of nonsensical anger,but she still shows self doubt and fear from time to time. She is energic, idealistic and still a romantic,but not obsessive nor possesive. peppy but emotionally intelligent. She still loves Sonic, but her feelings for him feel authentic rather than childish idealization,and given that she now respects his space,she's written to be happy just with fighting by his side and jokingly flirt from time to time. (their bond also seems stronger,but that's a topic for another day.)

I believe this portrayal of her is one of the best we've gotten in the sense that she represents a good mix of most things that has made her positively memorable since the beginning and lacks every problematic aspect of her character that was added post her creation. And because of this good mix of characteristics, IDW Amy is constantly praised by the fandom. But something i hear a lot is people saying how they love IDW Amy and despise "Main Amy" -by which i'll assume they refer to videogame Amy just in general- and that way of summarizing all of Amy's game portrayals feels very odd to me, especially because IDW Amy is a culmination of every single good aspect that has been added to this character combined with most of what she was meant to be at the start. In other words,IDW Amy couldn't exist if it wasn't for all the game Amys before her.

It's true that in IDW we haven't seen her character be as impulsive and outspoken as in the Adventure era or Heroes, and i miss that as much as every other Amy fan. But I do think that ,because so much assertiveness wouldn’t coexist very well with things like careful thought, the reason for that change must be that IDW is writing an more mature version of the character and It’s hard for them to keep such aspects of her personality intact without her being seen as childish by the audience now that they are paired up with big responsabilities (ex: the restoration) Especially since that super impulsive nature of hers probably came naturally at the time because she was supposed to be a 12-year old and wether we like it or not, it was implied by the narrative that it was one of the main reasons she got caught by eggman both in SA1 and SA2. Aka,IDW Amy isn't allowed to make as many mistakes as the og.

After all ,Amy used to be written to be mostly seen as a comedic character and as an "extra addition" to the main team rather than as an important,needed member of it. ( even in Heroes,where she had formed her own team,she was still trying to catch up to Sonic and his team because she had been excluded of it.) If she made a mistake and got caught by eggman because of her stubborness,the writers would just make Sonix fix things. In IDW she doesn't just feel older,but she has also gotten to have important roles in the fight against Eggman and people rely on her with their lives,so it doesn't surprise me that the writers try to make her be more conscious and careful when it comes to her actions now that she has more responsibilities and can't allow herself to make as many mistakes as she did back when she was written to be more immature and impulsive because of that extreme assertiveness.

Now,I personally believe that Amy in TMoSTH is the same as in IDW, just that she feels more like her OG self in TMOSTH because ,for the most part ,Bday Girl is on that train literally to just have fun and do as she pleases. She doesn't have any weight on her shoulders nor expectations,she is free of responsabilities all the way until the climax of the game and the game itself is very comedy-centric for the most part, so the writers pobably felt like they could set that impulsive,assertive side of her loose again, and i loved it!

In this game her character doesn't revolve around Sonic and she messes up a lot (The way she was so ashamed of how she broke her hammer when she tried to escape the closet with brute force that she lied, how she didn't realize Sonic was actually hurt because she was too excited about the game, how she was overconfident and impulsively tried to solve the case and completely failed ,how she and vector started beating a wall violently after realizing the train was alive,etc),but her positive qualities shine throughout the game as well ( How she took the time to organize a party that she'd think everyone would have fun at,How she is so thankful that everyone showed up and doesn't mind that Shad and Sonic didn't bring gifts, how she makes sweets remarks about others and cute jokes in distressing situations,how she has faith in Shadow's goodwill, The way she delivers the final blow at the end and says that despite everything,she loved the party because it was an adventure,etc ). Throughout the game,Sonic and the rest treat her in a way that really goes to show what a good friend and a lovely person she is ,and she expresses great appreciation for everyone's presence in her life.

It's honestly an amazing coincidence that this game takes place on her bday considering that it's the one that made this portrayal of her "game canon". As a fan of her, i celebrate it and hope we get more of it in the near future.

So yeah, i didn't talk about Sonic X Amy,Archie Amy nor all the comics,series and games that came out between the big videogame titles. There is much more about how Amy has been written that could be said, but i think i did a pretty decent summary of the most important changes her character has gone through the years mainline game-wise,at least good enough to defend my point that she wasn't a stalker originally and she definitely isn't one now. As i mentioned before,i agree that she was portrayed as possesive and obsessive for a long period of time and as an actual harasser for a shorter one , and that we should definitely recognize it and be critical of such things being portrayed as “quirky” and “funny” aspects when they are in reality, hurtful. BUT summarizing her whole character by calling her a stalker and an obsessive fangirl is defining her based on the worst examples of her characterization and ignoring her good ones completely.

Feel free to disagree with my character analysis,my opinions and the way i categorize her portrayals,but i strongly believe that Amy rose isn't meant to be a harasser,an obsessive fangirl or personal space invader.

My girl deserves better.

[ecoterrorist-katara]

“Katara deserves a quiet life after the war, so becoming a healer (who made no contributions to the field) is actually a good arc!”

It is already bizarre to me that in ATLA, Katara is this confident & combative & ambitious girl who LOVED to fight and wanted nothing more than to help as many people as possible…then comics!Katara and TLOK!Katara showed neither her previous personality traits nor a career commensurate with those traits…

but it’s even more bizarre to me that ATLA fans would defend her trajectory as if it were some kind of progressive story of recovering from war trauma.

I’ve seen multiple takes like this. “Katara is not a YA heroine, she’s not a bloodthirsty girlboss who loves fighting so it’s actually a good thing that she doesn’t have to fight anymore” “after everything she’s been through she deserves a quiet life and a loving family”

For Katara, fighting in the war was actually empowering. It didn’t burn her out. It didn’t disillusion her. It didn’t take more out of her than she can give. Katara is not Katniss Everdeen, who needed to step back and discover her own agency and a sense of peace after fighting in a war she never chose to start. Katara’s war trauma largely happened before she took an active part in it. After she chose to be a part of the war, she became a waterbending master, made close friends, found her father again, got closure for her mother’s murder, defeated the Fire Lord, and met the love of her life. If Katara were a real person, maybe she’d be traumatized, but nowhere in the text of ATLA does she exhibit the sign that she’s tired of fighting on behalf of the world. If anything, she just got started.

If you take her post-ATLA arc at face value (vs as bad writing), it’s a tragedy of a woman who has learned to minimize her own relevance and her own power. In The Promise, she begins deferring serious decisions to Aang. She doesn’t even express a strong opinion about the fate of the entire colony of Yu Dao, or the fate of her friend Zuko. In North and South, she accepts Northern encroachment of the South in the name of progress. In TLOK we see her not as a politician or a chief, but rather as “the best healer” — albeit one who apparently never established a hospital, or trained acolytes of her own, or done anything to help people at scale, which she has always wanted to do. It’s even more egregious when you remember that in Jang Hui, she was not satisfied to simply heal the sick as the Painted Lady. She wanted to solve the root of the problem, so she cleaned the river and committed full-on ecoterrorism. Just because the war is over doesn’t mean she wants to stop helping people. In fact, the problem she addressed in Jang Hui is exactly the type of problem that would become more prevalent after the war ends, judging by the rapid industrialization between ATLA and LOK.

In the original ATLA, I think Katara is about as close to a power fantasy as you can get for a teenage girl, because she gets to be messy and goofy and powerful, even though she also had to perform a whole lot of emotional and domestic labour. But post-ATLA, she doesn’t get power and she doesn’t get to make a change. She gets love and a family. That’s it. And her grandkids don’t even remember her. Her friends and peers, on the other hand, were shown doing all sorts of super cool things like, you know, running the world they saved.

It’s not feminist to say that a female character deserves “rest” when she’s shown zero inclination that she wants a quiet life. Women who want a quiet life deserve to get it — I think Katniss’ arc is perfect — but women who want power deserve to get it too, especially when they’re motivated by compassion and a keen sense of justice. There’s nothing feminist about defending the early 2010s writing decisions of two men. Like just admit that they fucked up! It’s fine! Maybe they’ll do better in the future!

[lesbianabril]

My S6 BTVS rewrite

I know this season has a lot of haters but I actually love season 6, I don't mind the depressing parts (meaning: most of the season) because I think it all makes sense for where the characters are at, and I think that after fighting a literal God having a season where the villain is Life really works storytelling-wise.

Having said that, though, I think that a lot of things could have been handled better and since all I have are correct opinions I'm gonna tell you what those are.

1. Willow's magic addiction

Basically I think they went too far when the magic became drugs in the most basic sense, when they start acting like she's "taking a hit" every time she uses it.

I think all of the important plot points could have been kept while making willow's addiction to magic about her need to be in control of everything (and everyone). Up to Tabula Rasa I wouldn't change anything, her use of magic is wrong because she starts using it to bend the world at her will, empowered by having successfully brought Buffy back to life.

After Tara leaves her she starts using even more magic while being reckless with it, she injures Dawn and she commits to stop using it because she realizes it wasn't healthy for her or for the people she loves.

I would eliminate Rack and his stupid crack house hide out, and everything that has to do with the physical withdrawal of going "cold turkey".

I think this also makes Willow responsible for her actions, while making magic = literal heroin absolves her of the blame, in the end. The fallout of having to deal with her dependence of it would also be way more compelling.

2. Spike's attempted r4pe

I would keep their toxic relationship and everything that led up to that god-awful bathroom scene, my only change is that I would make it so Spike is trying to turn her instead.

Hear me out. It would make a lot of narrative sense because all through the season he's trying to convince her she's a dark being just like him, he wants them to be equals because he doesn't think himself worthy of her so he's trying to lower her to his level. So, after Buffy rejects him again he's not thinking clearly and, in his desperation, tries the only thing he swore himself he wouldn't do since he loves Buffy because of her goodness.

After it happens, Buffy feels betrayed, Spike leaves and decides to try to get to her level, to truly change himself instead of trying to change her.

This is a minor thing too but in this rewrite after Spike leaves we don't know where he went and we don't see him again until the start of s7 when he already has his soul. I know this couldn't be done because of James Marsters' contract but in my dream s6 we don't know what happened to him so when we see him again everything about his sudden disappearence and current mental state is a mystery and we find out along with Buffy.

3. Xander dies instead of Tara

Ok maybe this one is based on my dislike of Xander and my love of Tara but I think this would work really well:

Willow and Tara haven't gotten together yet, Willow is working on her more controlling tendencies and they're just friends right now. When Warren shows up Buffy is in the garden with Dawn and Xander went up to Willow's room to talk to her, so both Buffy and Xander get shot, Dawn takes Buffy to the hospital and dark Willow is born after she's not able to revive Xander.

After that things are mostly the same, only this time we get a grieving Buffy trying to deal with the sudden loss of both of her best friends. She's devastated and a part of her says that yes, Warren deserves to die.

After everything happens and Willow is close to destroying the world, Tara is the one who shows up, she appeals to Willow's humanity and, through her love and compassion, saves the world.

[silvermoon424]

Twisted Tropes: An Examination of How Magical Girl Tropes are Subverted in Puella Magi Madoka Magica

(this is a long one, clocking in at over 1600 words. Enjoy!)

Madoka Magica has often been called a “deconstruction” of the magical girl genre, and while many fans refute that claim, it’s clear that it at least offers a darker twist on many of the tropes beloved and well-known in the genre. These tropes include the transformation trinket, the cuddly mascot, the monster of the week, magical girls having a secret double life, magical girls themselves being child heroines, and even the concept of why magical girls fight in the first place.

One of the biggest examples of these tropes being twisted is the magical girl transformation trinket, which in this series are Soul Gems. In more conventional magical girl series, transformation items are pretty, flashy items that enable the girl to transform from her civilian form to her magical girl form- and to be frank, serve the double purpose of selling toys and merchandise in the real world.

In PMMM, Soul Gems are beautiful Faberge egg-like items that serve the same purpose. It turns out though, that their name is very literal; they are gems that serve as containers for the magical girl’s soul (or may even be her crystallized soul, it’s not really made clear). Soul Gems are formed when magical girls make a contract with Kyubey and are the source of their powers. Moreover, because her soul has been ripped out of a magical girl’s body, her body cannot function unless her Soul Gem is within a few hundred feet of what is now her soulless husk.

In more traditional magical girl shows, transformation trinkets sometimes get stolen, misplaced, etc with no ill effect for their users except for an inability to transform. In PMMM, this is a literal death sentence unless the Soul Gem can be recovered (as displayed in episode 6, when Madoka tosses away Sayaka’s Soul Gem in an attempt to prevent her and Kyoko from fighting). The consequences of this are actually explored in one of the routes of the Madoka Magica PSP game; Sayaka is separated from her Soul Gem in a Witch’s barrier, and it takes Kyoko days to find it. In that amount of time, her body began to literally rot.

The next concept I want to explore is that of the cuddly mascot. Magical girl mascots are a common feature in many shows, from the Moon Cats in Sailor Moon to Cerberus in Cardcaptor Sakura to the many, many mascots in the Precure franchise. In all of these series, the mascots act as friends and often mentors to their magical girl companions; in most series, they are also responsible for empowering/awakening their magical girls.

In PMMM, Kyubey initially seems to be much the same. He is a cute, cuddly creature who is responsible for creating and guiding magical girls. Pretty soon however, it becomes clear that Kyubey is a sinister figure. His contracts don’t seem very benevolent; they seem exploitative, taking advantage of girls when they’re at their lowest point. And unlike the Senshi in Sailor Moon or the Cures in Precure, it quickly becomes apparent that the magical girls in PMMM are dealing with much higher stakes- at least, when it comes to their own wellbeing.

PMMM almost seems to ask the question: what kind of creature would give superpowers to children and send them to fight monsters that could very easily kill them? Even Kyubey’s appearance is highly implied to be a carefully calculated façade meant to lure teenage girls into a false sense of security and make them feel drawn to him. For example, Kyubey uses this to his advantage when he plays up his helplessness to Madoka in episode 1 when he’s being hunted down by Homura. In reality, the Incubator’s true appearance- as seen in Rebellion- are implied to be mechanical structures with giant eyes in the middle; a very alien appearance suiting their alien origins and psychology.

Speaking of child heroines, PMMM also addresses the magical girl tropes of the child heroine and the double life. In most magical girl shows, being a teenaged (or even child/preteen) magical girl is portrayed as an exciting, glamorous, heroic position. The role of magical girl is often contrasted against the mundane, yet still charming and school and civilian life. Magical girls often work hard to maintain the secret of their alter egos from their (non-magical girl) friends and family, although in some series the secret does come to light. However, the girls are usually able to enjoy a healthy balance between their personas.

In PMMM, magical girls seem more like child soldiers than glamorous heroines. Being young girls and not hardened adults, many magical girls face severe psychological trauma from the life they’re thrust into- much life real-life child soldiers. Most magical girls made their contracts without truly getting to think about their wish or the consequences of being a magical girl for the rest of their lives. And because getting enough Grief Seeds is literally life-or-death, they must spend most of their free time patrolling for Witches.

We get a good look at the toll being a magical girl takes on one’s social life through Mami’s character; supplementary materials reveal that she was once a popular girl who had a lot of friends, but after she was forced to contract in the same accident that killed her parents, she slowly lost all her friends because she had no time to do anything else but train, hunt Witches, fight Witches, etc in her free time. In episode 3, when Madoka talks about how she wants to be a magical girl, Mami outright tells her that the life of a magical girl is a lonely one and Madoka will no longer have time for things like boys or hanging out with her friends after school. Even in Magia Record- an alternate timeline that offers a much more positive look at the PMMM-verse- most magical girls are only friends with each other.

Another major example of a trope being twisted is that of the “monster of the week.” Most magical girl series have the girls fight monsters, and in many of those series the monsters are created from human beings. Sailor Moon and the Precure franchise are two standout examples of this. For example, in the fifth season of the 90s anime adaptation of Sailor Moon, people who don’t have “true” Star Seeds will turn into monsters called Phages if their Star Seeds (ie, souls) are ripped out. A similar phenomenon happens in Heartcatch Precure, with the added bonus of the victim’s consciousness eternally reliving the same state of despair that made them vulnerable in the first place. In all of these series, however, the magical girls are able to heal the victims and restore them to their former selves. Sometimes, if the monster/victim is a loved one or someone else known to them, they can even do a “I know you’re in there somewhere” plea to help them to break free.

PMMM takes the true horror of this concept up to eleven. Moreover, the victims aren’t regular people- they’re the magical girls themselves, and this fate is inevitable. Every magical girl, if she doesn’t die in battle against a Witch, will become a Witch herself who spreads despair and kills innocent people until the day she is put out of her misery by another magical girl. And she will be in misery; the Rebellion movie shows that Witches relive the worst moments of their lives over and over again and are psychologically tortured. A lot of Witches also seem to be in ironic hells. For example, Charlotte can create any dessert she wants except for cheese or cheesecakes, which is her favorite food. Roberta is surrounded by lascivious men (her familiars) who annoy her. And of course, every Witch was once a magical girl who once spread hope and saved people and now does the opposite.

It’s also made abundantly clear that once the Witch transformation happens, it’s over. There’s no saving someone. The only person in canon who is able to actually get results is Madoka- aka an actual goddess with huge karmic potential- and it comes with caveats (in one, later timeline she brings Sayaka back from the dead after she became Oktavia, and in Rebellion she is able to reverse Homura’s transformation into Homulilly- although afterwards Homura still needs to be brought into the Law of Cycles like any other magical girl about to become a Witch). In episode 9, when Kyoko and Madoka try to reach out to Sayaka’s inner self when Kyoko fights Oktavia, it ends in Kyoko’s death because nothing of Sayaka remains.

In most magical girl shows, the monsters of the week are just ineffectual mooks who are fodder for the evil organization opposing the magical girls. But in PMMM, they are mirrors of the magical girls themselves, agents of chaos and despair who present a very real threat to the magical girl’s lives- not to mention the lives of any unfortunate people who stumble across them.

Finally, I want to examine the topic of why magical girls fight in the first place. In most series, there is a group of villains who pose a threat to humanity/the Earth/etc and magical girls must oppose them. There is a very real external threat being faced.

In PMMM however, the beings that empower/perpetuate magical girls and are ultimately the threat are one and the same. Because the tragedy of PMMM is that magical girls are fighting against a self-perpetuating cycle; magical girls form contracts, magical girls become Witches, more magical girls form contracts and fight the Witches, and on and on it goes. Magical girls are their own enemy, in a sense.

I’m sure there are lots of tropes I’m forgetting, but this essay is already over 1,600 words long, lol. I might make a part 2 at some point, so give me your ideas!

[elegantsparklyllama]

Why we love Asha x Starboy

I just watched Wish, and it is because of the lack of meaningful character interaction in the movie. Aside from Asha and Magnifico, there are only so many characters to bounce off with Asha. There are 7 friends, but they're surface-level at best, with one line per character. The same goes for Sabino (Asha's grandfather), Asha's mom, and even the goat! Star in the final movie is a one-note "follow your dreams" character. There is no added dimension to these interactions, making the film feel hollow.

Giving the Star a humanoid appearance and a potential romance with Asha suddenly makes Wish more interesting. By making Star a human, writers are less likely to treat them like a random animal sidekick and more like a human character.

Meaningful character interactions give viewers something to cling to and relate to emotionally. The Disney Renaissance emphasizes romantic subplots and family conflicts for this reason. You can also find this when the main hero interacts with an animal sidekick. They provide the heart of a movie.

As a writer, I'm attracted to romance subplots because, like any relationship, they provide exciting character interactions and emotional investment. I'm beating a dead horse, but just because a princess has a romance arc doesn't mean she isn't empowered. Belle and Mulan are Disney princesses with love interests, yet they are still fully fleshed-out characters. Romance can also thematically enhance a story. Beauty and the Beast would not be the same without a romance between Belle and the Beast.

In the context of Wish, I think Asha already has an animal sidekick with the goat. She only needs one (they already have too many characters with the 7 teens). It is not that animal sidekicks couldn't be compelling characters. Mushu from Mulan is an example of creating entertaining animal sidekicks. He even has a character arc that complements Mulan, the main heroine. However, with Disney standards right now, you can't help but feel they might butcher the animal sidekicks.

Even the OG movie Snow White checks the mark for meaningful character interactions. It is not between the nameless prince and Snow White, but it is with the seven dwarves. Ironically this is where Asha's 7 friends are based off. The most important relationship of Snow White is literally in the title of her movie: Snow White and the Seven Dwarves. Unlike Wish, the reason why they can get away with 7 dwarfs is because the film is centered around the relationship between them and Snow White to avoid bloat.

It doesn't help that Asha and Magnifico themselves feel like bland cutouts. If you compare them to Disney's rosters of heroes and villains, they'd pale in comparison. They have the most interesting interactions but it feels like the bare minimum.

Whenever I look back on a movie, I remember a thought-provoking thematic beat or even a funny character interaction. Wish doesn't leave room for much. The movie feels like an amateur school play they show to grade-schoolers which is a low for Disney.

You know what's sadder?

I wish I could've had that meaningful character interaction with Asha and her grandfather, Sabino. They had something with Asha wanting to grant Sabino's wish but Sabino refused to let it be granted. In the movie, the conflict lasts for about a scene, and then it shifts to granting the wishes of everyone in Rosas.

You can see why the writers toyed with the idea of the Star Boy being a younger version of Sabino. The relationship between Sabino and Asha is the heart of the story.

This imaginary ship buried in concept art gave what the movie lacked: a heart. It is not enough to spew out inspirational messages and call people stars. One should also incorporate humanity.

I have a lot more thoughts on the story, specifically in its thematic beats but that is for another time.

[princesssarisa]

Some people say that Cinderella has been adapted too many times, but personally, I'm glad that so many different versions exist.

I've just been reading some of Tumblr's debates (mainly centered around Disney's 2015 film) about whether it's right or wrong for Cinderella to forgive her stepfamily in the end. Predictably, it's a controversial subject. This is one of the main reasons why I'm glad there are many adaptations of Cinderella. Each has its own unique tone and emphasizes different themes, which lead to different outcomes for the stepfamily in the end. So there's no single way that the story of Cinderella encourages real-world abuse victims to relate to their former abusers. From a wide array of different valid interpretations of the tale, we can choose the ones that we personally find the most resonant.

Here are just a few of the best examples:

Disney's 2015 live action Cinderella centers on Ella's resolve to "have courage and be kind," despite all the hardships she goes through. It's about staying true to your values against all odds. Lady Tremaine's own past suffering has made her bitter, selfish, and spiteful, and she would love to see Ella change in the same way, but Ella refuses. Hence her forgiveness of Lady Tremaine in the end serves as an empowering act; it's the ultimate loyalty to her value of kindness, and the ultimate proof that she'll never be like her stepmother.

Rossini's 1817 opera La Cenerentola likewise revolves around "the triumph of goodness." Although the emphasis is less on Angelina's choice to stay kind against all odds, and more on social commentary: i.e. that kindness and virtue matter more than social status, wealth, or power. So again, it's important that even after she rises to royalty and has the power to punish her stepfamily, Angelina stays true to her compassionate nature, forgives them, and saves them from the financial ruin they've brought on themselves.

Disney's 1950 animated classic, on the other hand, is less about staying true to your values than about hope in the face of adversity. While Cinderella's kindness is still important, the bigger emphasis is on her persistent faith in her dreams of happiness, and despite all of Lady Tremaine's efforts to crush it, her optimism wins. In a story that's first and foremost about faith and hope, it doesn't matter whether the villains are forgiven or punished. Hence the stepfamily is simply absent from the happy ending.

The 1997 remake of the Rodgers and Hammerstein musical, on the other hand, has its Cinderella learn to do more than just dream of a better life, and learn that she deserves to be loved and has no obligation to her abusers just because they're her "family." Hence the climax where she finally resolves to run away, which leads to the Prince discovering her outside just in time, and the ending where the castle gates are slammed in the stepfamily's faces.

The original 1957 version of Rodgers and Hammerstein's musical has a similar arc for Cinderella, culminating in her running away. But the script's tone is more playful and satirical as a whole. So in the end, the stepfamily is allowed to attend the wedding, fawning obsequiously over Cinderella now that she's a princess, and it seems that they'll always be a part of the royal family's lives as annoying yet harmless in-laws, much like Jane Austen antagonists.

1955's The Glass Slipper, which averts the traditional gentle and kind Cinderella and instead lets Ella be an angry, unsociable rebel, isn't about any of the above themes. Instead it's the tale of an emotionally scarred, self-hating outcast who finally finds love and acceptance and who learns to open her heart to it. The stepfamily's role in this version is understated, so seeing them reluctantly curtsey to Ella near the end is all the closure we need for them.

1998's Ever After has its heroine come into her own as a strong, clever, idealistic woman who will be an excellent future queen, and teach her prince to be a better future king too. Hence her settling her stepfamily's fate in a way that combines regal diplomacy and mercy with justice: reducing their sentence from deportation to the tit-for-tat punishment of being reduced to servants. The fact that Baroness Rodmilla not only abused her, but sold her into slavery to a lascivious man, makes it all the more appropriate that Danielle doesn't forgive her: an act like that crosses a certain line.

All of these different twists are valid. Each adaptation's different themes suit the story well, and each different ending for the stepfamily fits the tone and themes of the adaptation. None should be taken as the ultimate message of how to deal with abusers. But I'm glad that they all exist and offer different perspectives to explore and choose from.

[comicsart3]

Empowered is a comic book heroine conflicted in more ways than one. She inhabits a fictitious manga inspired meta universe based in an unnamed west coast city in the USA. This city is beset by super villains and Empowered, whose real name is Elissa Megan Powers, usually shortened to its initials EMP (leading to her vaguely feminist super heroine monicker), determines to join a Justice League style group, called the Superhomeys in order to fight crime following the death of her father. Empowered possesses significant super powers, principally the ability to fire bolts of energy from her hands and super strength, but these powers depend entirely on the ability of her skin tight super suit to hang together which, in combat, it rarely does, frequently tearing and leaving her helpless. At this point Elissa usually ends up being tied up by the baddies and having to be rescued by one of the Superhomeys. All this compounds poor Empowered’s self esteem issues, which are legion, as she frequently becomes a figure of fun in the super hero community.

However, despite her troubles, Empowered usually wins the day, Nancy Drew style, by virtue of her intelligence, detective skills and the extent to which the villains underestimate an opponent they view essentially as a bimbo. This panel is one such example whereby Empowered preys on the villain Tiger Shrimp’s existential fear of the mega villain Maidman, to distract him and then overpower him with an energy blast. Elissa apprehends the defeated and sullen bad guy, tying him up with metal cables, while gently mocking his credulity.

Empowered is written and illustrated by Adam Warren. The title first appeared in 2007 and is still going strong. It is usually published by Dark Horse comics. With thanks to Mats Karlsson for sharing this excellent page.

[inthememetime]

DP au where Vlad is still evil, but Very Bad At It. To the point where he plays himself. For this to work, Vlad doesn't find out Danny is Phantom for a while. Some examples:

Possesses Jack @ Bitter Reunions, and ends up throwing him the wrong way repeatedly. The 'heroic' Wisconsin Ghost changes the Fentons' minds about ghosts, because it's interference saves Jack from a falling chandelier, a vat of sulfuric acid leaking, a wreck in the GAV, and because he had to get that broken arm checked out later, finds cancer- at a stage where it's completely operable, and saves his life. Again.

Kidnaps Jazz- he thinks he's kidnapped her from a date. To Jazz? "Mom, (name) wouldn't let me out of his car and kept trying to push me. But the Wisconsin Ghost saved me!"

Kidnaps Maddie...multiple times. Gives the whole 'you will marry me!' speech, but it's in Ghost Speak, so Maddie's just very confused. He ends up repeatedly dragging her to places where, coincidentally, people have gotten horribly lost in the woods, or injured, and now she thinks he's just super helpful & dedicated to saving human life.

"Renounce your father and join me!" Umm. "Is everything ok, Mr. Wisconsin Ghost?"... *thinks on all his failures, and how the Wisconsin Ghost is now known as a hero*... " no."

Plasmius: *unholy demonic screeching*

Maddie: Yes, ok, I know someone's in danger. Can you please just show me? The Ghost Gabber doesn't work, it keeps on saying you're making death threats, marriage proposals, and chanting that you're a Vikings Fan.

Plasmius: *horrified gasp*

Maddie: I know, you'd never hurt anyone- anyway, where's the danger?

Everyone thinks the Wisconsin Ghost and the mayor are dating, because they both moved to Amity Park at the same time.

Danny finds out about Vlad, and is delighted because hey- two ghost superheroes! Vlad is horrified at being called a superhero, and orders Danny to rob a circus. That circus is, of course, Freakshow's, and Danny ends up freeing all the ghosts and getting Freakshow arrested before he can hurt anyone. Vlad is lowkey dying inside.

Danny thanks him for giving him the courage to 'come out' to his family as a half-ghost. It doesn't take them long to figure out who Plasmius really is.

Ah-ha! Valerie hates ghosts, if he weaponises her, she'll be his evil henchman, and prove that HE. IS. EVIL!!!.... Through fighting with and talking to ghosts, Valerie comes to an understanding with them, and thanks him for 'empowering her to be the heroine of her own story', 'showing her the error of her ways', and 'enabling her to help him- and Danny- protect Amity Park and the world.' Vlad: *sobs in poor little meow meow*

Vlad kidnaps a few kids...and turns out, he rescued them. They were being abused. He's their hero.

Vlad: And I will make this town RUE THE DAY it-

Jazmine: Hey uncle Vlad, let's talk for a few minutes.

Vlad: NO

Jazmine: Please?

2 hours later, Vlad is sobbing into a teenager's shoulder, and Jazmine is screaming at her parents.

Vlad constantly tries to fight Danny. Danny, the OP bastard he is, thinks Vlad is trying to teach him via sparring. He's having a great time. Vlad is mourning the last shreds of his dignity.

Vlad and Jack rekindle their friendship- on accident (in Vlad's case), by mourning over feeling incompetent.

[apinkheartinmiddle-earth]

I was watching The Two Towers again recently and I realized something about Eowyn. Many paint her as this strong badass woman who doesn’t take shit from anyone, which is still true in a sense. However, people tend to forget that she is still a flawed character and has a long way to go in the story so far.

This was probably the intention of the scene, but when she was complaining about having to be with the women in the caves, it kind of left a bad taste in my mouth. The women of Rohan tending to the children and finding food is still an important task, after all. Eowyn was practically looking down on them because they weren’t doing the badass stuff assigned to the men. More so because she couldn’t be able to join the men in battle. She fails to see that someone needs hold the fort so that the warriors have a home to come back to. Without those staying at home, Rohan would fall apart.

It was good on Aragorn for calling the women’s duties an honorable charge because he knows damn well that their role is just as important as those in battle. I love how he holds them in highest respect for it and calls out Eowyn for how she talks down on them. Aragorn is calling out Eowyn for her internalized misogyny, basically.

Now, I am not going to drag Eowyn and call her awful (why the fuck would I, I literally love her). I’m trying to look at this from a place of understanding at how she could have possibly got this mindset in the first place. It just suddenly struck me that one of the reasons she probably thinks this way is because she didn’t really grow up with a significant mother or female figure in her life whose duties involved the home. She was raised by a man whose job was to command armies. Therefore, she has never truly understood why these women chose to hold the fort instead of going out into the trenches. Tending to the house and taking care of the children is an inherently thankless job but a very important one nonetheless.

Eowyn putting down these women and their duties was perhaps because of her lack of understanding, not because she held any resentment towards them. In fact, she probably wanted them to fight alongside the men like what she desired for herself. But it bears repeating that what she fails to see is that someone has to take care of matters at home. It would be amazing if the women of Rohan had the opportunity to go into battle, but alas, they have to stay there since they have little say in doing so. Sexist? Quite. But the women are still doing their job at home the best they can.

Weirdly enough, that scene of Eowyn complaining to Aragorn actually made her character development all the more meaningful to me. Remember by the end when she decided to become a healer and love all things that grow? Yeah, some people didn’t fuck with it because they thought Eowyn was going to become dainty and submissive. However, I rocked with Eowyn making that decision.

This was the turning point in Eowyn’s story when she realized that war fucking sucks and that her worth shouldn’t come from how many enemies she can slay or how traumatized she can get from the horrors of war. She finally chose to prioritize love, kindness, gentleness, growth, and happiness. That’s about the most badass thing someone can do, to be completely honest. As a result, Eowyn has surely grown from looking down on the mothers and other carers in Rohan.

This is in no way trying diminish her typical badass heroine characteristics, but to show people that she still really had a long way to go in spite of her obvious strengths. It’s just that her battling capabilities and desire to fight with the armies don’t necessarily make her better than those who are just trying to keep their families safe and fed at home. I love how she grew from this mindset and chose instead to be empowering in her own way without the need to put down other women who obviously had important jobs to do.

[bettabythesea]

Hey I’m still doing Danganronpa stuff!! Like. a lot of it-- and basically none of it is ready to show sadly. So please accept this humble magical girl au concept, which I call: The Muses of Hope. (Also also @caldroids was a major help in designing these costumes and actually he’s really good at costume design in general so like. take a gander at his stuff if you have the chance)

It basically takes place in a universe kind of similar to the one in Talent Development Plan, but like there’s some sort of sinister force that’s endangering the students of Hope’s Peak!! More info under the cut

Angel Harmony The magical form of Kaede Akamatsu and the leader of the trio. She was hurt when she tried to protect her friend Shuichi from a monster attack one night, and so the fairy Usami lent her power directly to her in order to save her life. As such, Kaede gained her wand and her angelic-type power. She is capable of flight, even outside of her magical form, although it takes time and lots of coaching from Kaito to get used to what is essentially zero gravity. She takes her role as a magical girl very seriously and works hard at it...although she does look forward to the day that all of this monster nonsense is solved and she is able to get back to prioritizing honing her skills as a pianist. Siren Melody The magical form of Sayaka Maizono. When her bandmates were threatened by a monster, she risked her life to protect them and as a result gained the ability to transform into the heroine Siren Melody. She is able to maneuver effortlessly underwater as though an actual mermaid. She's also able to breathe underwater, even when not transformed. Her weapon is a pair of daggers that she is able to summon from the gemstone on her belt, which she can either wield as-is or use them like a conductor's baton to control her water-like magic. At first, Sayaka was extremely reluctant to accept becoming a magical hero (for a whole plethora of reasons) and only fought when necessary. However, when she witnesses a classmate having his talent stolen by a monster, she becomes much more proactive in getting to the bottom of the mysterious goings-on. Dragon Beat The magical form of Ibuki Mioda. After she happened to discover what was going on with the monsters and their connection to the disappearance of two of her classmates, she had a strong desire to fight and from then on was able to transform into a fighting hero. As Dragon Beat, she is incredibly connected to the concept of rhythm, which manifests as having a command over the element of earth. She is able to create fissures and manifest sharp crystals in battle. Her weapon of choice is a flail formed from a spiked cluster of crystals. She is also overall more physically strong and durable than before, which is a trait that carries over to her civilian form. Of the three, she's the most optimistic about her new responsibility. To her there's an inherent coolness in getting magical powers, and she feels empowered that she's able to do something about the ongoing crisis at hand.    

[kiri-cuts]

Wooing a dreamboat's grave in "Lisa Frankenstein"

Warning! Spoilers! If you’re my type of person, then you likely relate to a scene in ‘Lisa Frankenstein” where Lisa (Kathryn Newton) steps awkwardly into a party and immediately recoils in disinterest at its prospects: Normies, popular people, jocks, bad jokes and even worse conversation. Awash in a sea of coddled conformity and vanilla personalities, Lisa wants to disappear. And she does – via a drink spiked with PCP and its vile consequences. 

The scene is in stark contrast to an earlier one, which establishes Lisa as a romantic goth whose happy place is to sit beneath the handsome bust of an expired hottie’s grave and read poetry to it. Dead or not, Lisa is in deep with the dead. Her comfort zone isn’t with people. Hell, it’s not even amongst the living. All she needs is the fantasy of a cute guy – pulse be damned. For many teen girls, dead celebrities make for the perfect untainted crush: Kurt Cobain, Heath Ledger, Brittany Murphy, Tupac, River Phoenix, Elliott Smith Aaliyah, James Dean, Jeff Buckley, Anton Yelchin. For decades (hell, probably centuries), teen girls have been able to project their fantasies onto the pin-ups of the formerly living – the more tragic, the better. Dead celebrities can’t age, make gross missteps, or date someone you hate. As a result, they can never disappoint you or let you down. They simply remain beautiful and idealised – a butterfly pinned within a frame. “Lisa Frankenstein” takes this fantasy to the ideal next level. Lisa’s wooing of a corpse and her unbridled passion for him is so gigantic it’s almost a cosmic event. Sure, it’s the lightning bolt of a storm that wakes The Creature (Cole Sprouse). But to anybody who’s ever swooned so hard that their heart has felt big enough to swallow the whole universe, there’s an obvious truth: Lisa’s love was so electric that it woke the dead. 

Stories rarely allow women to not only fantasise in this way but to take the opportunity to make their fantasy flesh. There are countless stories about lonely, misunderstood, and horny men who see their most potent sexual and romantic dream babes conjured into a living, breathing fuck machine: “Weird Science”, “Ex Machina”... “Splice” (though, good grief, how I wish that last one didn’t go there). While other movies like “Poor Things” and “Frankenhooker” approach this tale from a perspective that pokes holes in such tropes and empowers the object of affection, such a story nonetheless persists. Outside of an episode of “Sabrina the Teenage Witch” where Sabrina uses a dubious ‘Man Dough’ recipe from her chronically single aunts to create a date for the dance, I’m stumped as to recall any others. (Since I know you’re intrigued, Sabrina adds too much enthusiasm into the mix, and a supremely cute but overly perky Brian Austin Green pops out of the oven like a young Nick Cage on “Wogan”. He’s no Harvey Kinkle, that’s for sure). In “Lisa Frankenstein”, our titular heroine very actively indulges her romantic and sexual feelings toward The Creature. Tongueless and speechless throughout the film, Sprouse’s character exists solely for Lisa’s gratification. As she helps rebuild and restore him to the living, she also restores herself. Previously, Lisa, too, had developed reactive mutism following the murder of her mother. But with The Creature, she confidently begins to get her voice back – even if she does use it to enthusiastically encourage the occasional cold-blooded murder (hey, nobody’s perfect). 

By the end, it’s just like my boy Nietsche says: She who fucks a monster might take care lest she become a monster. Except Lisa’s pretty okay with having the abyss gaze back into her. That abyss is her happy place, and that monster is her boo. This is the place where poetry becomes born into flesh and blood, creating the cutest boy she could have ever hoped to have sewn a severed penis onto. A place where love – even the mere fantasy of it – is all a person needs to sustain them. Pulse be damned.