female mascot

http://www.adweek.com/brand-marketing/brawny-swaps-male-mascot-strong-female-figures-honor-women-170036/

In honour of International Women’s Day, as well as Women’s History Month, the paper towel company Brawny started the video campaign #StrengthHasNoGender. The brand swapped its iconic male Brawny male mascot with four women from traditionally male dominated professions – jobs in the fields of science, technology, engineering and mathematics. The women include Linda Alvarado, Swin Cash, Dr. Valerie Montgomery Rice, and Maureen Stoecklein. For the entire month of March, paper towels with images of these women will be available for purchase in Walmart stores. Brawny is trying to break down traditional stereotypes and barriers, while also empowering women and promoting female leadership and accomplishment. Brawny will also be donating $75,000 to the organization Girls Inc.

 One course concept that can be applied to the #StrengthHasNoGender campaign is social construction. Social construction is an understanding of the world and individuals based on constructions of reality - socially, rather than biologically. This theory focuses on the social, rather than biological constructions that occur in society. This theory is applicable to this campaign because the ideas and assumptions people make in regards to women are constructed through social norms, rather than biological ones. For centuries, there have been underlying assumptions that women should work in professions specifically for them – nursing, teaching, administrative, etc. Men on the other hand have been known to work in jobs related to construction, auto mechanics, forestry, etc. This campaign specifically seeks to break down social constructions that have resulted over the course of history in regards to women. It puts the spotlight on women who are not afraid to overcome adversity, and also highlights the personal, social, economic, and cultural achievements of these women. It shows that women are courageous and strong regardless of gender stereotypes that might indicate otherwise. 

- Lauren Wagner

thats the female mascot of one of the biggest games of 2016……….. exchanging presents and kissing her girlfriend……….. in a canon comic………….

Female Mascot. Lady Met. New York Mets.

Lady Met was the first female mascot, introduced in the 1960s on leaflets, flyers, and pennants.  She appeared live with Mr. Met at Shea Stadium, but her appearances stopped in the early 1970s. She made a small comeback in the 2000s by attending special events with her husband, Mr. Met, and their two kids. She also starred with Mr. Met in a “This is Sports Center” commercial in 2003.

Lady Met wears a sweater with her name, Lady Met, across her chest. She is not Mrs. Met, she has her own identity. You go, girl!

ever think about how female cereal mascots just dont exist? ever think about how if theres a girl on the packaging its always a product for girls? ever think about how little boys are forbidden from books and toys and movies and tv that have female main characters? sometimes it overwhelms me that so many (cis) men refuse to empathize with women simply because theyve never had to

Madoka Magica isn't a deconstruction

As a subject, Mahou Shoujo is, in my opinion one of the most misunderstood and yet widely adopted genres in anime.

Being a regular fan, you can know about its presence like that of Super Robot and Battle Shounen- and yet have no insight into its role as one of the eldest genres on the scene.

Many viewers simply don’t find interest in watching a feminine, almost voyeuristic take on dramatized child adolescence, which is totally fine. (Doesn’t make you any less of a fan of the genre either if you’re of the male persuasion and aren’t there for those themes. All power to you!)

However, when it comes to analyzing such genre steeped shows, like that of Sailor Moon or Little Witch Academia- those without the wide understanding for which their structures are based can make unfair or miscalculated conclusions of what those stories communicate.

This is the exact quandary that Madoka Magica poses for such analysis and why I don’t consider it a deconstruction of the Magical Girl genre.

Mahou Shoujo, or Magical Girl is a term assumedly coined by that of Mitsuteru Yokoyama and Fujio Akatsu-ka, creators of Mahoutsukai Sally and Himitsu no Akko-chan; firsts of the genre, bench marking its creation in the early 60’s.

(I say “assumedly” as I can’t find anything divulging the cut and dry fact. Hit me up if you have the actual source with citation.)


The genre has many subsets, but for the sake of your time we’re going to focus on the most popular and prolific of the Magical Girl Sub-genres, Magical warrior. There are some key components that make a show “magical warrior”.

1.) Have the protagonist or other female characters gain/have the ability to transform into an alternate, enhanced version of themselves.

2.)The presence of a magical companion, whether that be a animal or object that accompanies the protagonist in her magical endeavors.

3.)Items that assist in either the transformation process or battle for the protagonist

4.)An adversarial force threatening the lives of the protagonist, their friends, society and or existence itself


Its is of note that while a transformation is a must for this sub genre, the other factors can be all present or sparsely.

In Cardcaptor Sakura for instance the main character, Sakura Kinomoto doesn’t traditionally transform but rather changes her clothes. However she still uses a magical item, is accompanied by Kero and works towards a goal that threatens the lives of those around her or her way of life.

(Arguably Sakura’s “transformation” is just that because she transforms her mindset when changing outfits to better suit her magical endeavors.)

Along with those structural linchpins, Magical Warrior-centric shows are known for their glamorous, long-winded transformation sequences, teenage leads, handsome love interests, revealing outfits and normalized use of cute, bright and feminine iconography.


On the subject of how Madoka supposedly “deconstructs” these shoujo conventions common to the genre, with its “dark” tone and DEATH and despair- it simply doesn’t work because modifying elements of a genre and subverting audience expectations doesn’t mean your critically taking apart the framework.

But you must be asking by now “well Mirage, if twisting elements of a genre isn’t Deconstruction then what is?”


Jacques Derrida was an accomplished french philosopher of the early 20th century. You can see his fingerprints all over, influencing how we study subjects embroiled in the arts and social sciences. He found that the meaning many authors and scholars claimed to see in stories were inherently arbitrary or transient.

Generally speaking, Derrida’s theory of deconstruction, (or post structuralism) deals with the mental form of which meaning takes- form. Although we perceive meaning in a text such as, let’s say Evangelion or Welcome to the NHK- such meaning isn’t structurally sound. A lot of deconstructive analysis focuses on the words and language we use in describing- communicating those thoughts and how they are, in their own form- failures.

Tim Nance has a fantastic video on explaining in laymen’s terms what the act of deconstruction is, I highly suggest you pop over and listen to his video. For now I will simply relay that of his points on the process of which someone deconstructs a text.


Find meaning

Identify tensions

Identify the ways that those tensions seem to be unified by meaning

Deconstructing the tension

Then unity falls apart

Then the meaning doesn’t mean anything anymore.


So a Hypothetical; Hameru is chasing Kyuubei down a corridor.

Cornering the demon rat creature, she pulls a gun from her shield.

Before Homura can muster the greatest of head tilts, Kyubey yells “Homura, no matter what you do magical girls and their wishes cannot exist without the creation of witches and their curses!”

However Hameru being the dimension-skipping cynic we all know and love doubts this, arguing that “you can’t know the intent of which causality occurs, Incubator. You may think that being a magical girl ultimately means being a witch but you can’t know that for sure because hope is not guaranteed to falter to despair.”

Kyubei asserts to Homura that its is impossible for witches and Magical Girls to not exist together through the Cycle of Entropy, forwarding their meaning in the knowledge perceived. Homura then identifies the tensions of such a statement, and their unity.

She understands that Kyubei believes the two to be omnipresent however questions if it’s necessarily true, stating that hope doesn’t necessarily need despair.

By deconstructing the tension, the structure of Kyubey’s statement falls apart and loses its meaning.


When I refer to Madoka as not being a deconstruction, its as a genre deconstruction. Instead of words, we cut down to a set of trappings and conventions that cement the subject and go about playing those elements as they would in the real world, then commenting on the genre as a whole.

While undoubtedly Madoka uses the ingredients of Mahou Shoujo, it doesn’t necessarily comment on the way in which those trappings are when deconstructed. Rather it simply changes the shades of pink and white to purples and blacks.

It points out that the form the genre is known for is problematic and pushes the shape of events to a far darker place. But it doesn’t take that point any further than that, focusing rather on its themes of selfishness vs selflessness.

In the case of deconstructing the genre what conversation does that start?

If it was as deconstructive as people claim, Madoka would’ve elaborated more on, lets say its themes of utilitarianism through Kyubei or Feminism regarding the witches as a whole.

Madoka has a female cast, a mascot character, transformation items and weapons, a cosmic big bad and trucks full of cute, fairytale imagery paired with its stark depictions of despair and death. It’s not an outlier for its themes but rather the boundaries it’s willing to push.


I think this issue is less of a problem with the show and more its fanbase. Madoka isn’t deconstructive, its subversive, turning the expectations of common viewers upside down. (Again, note i’m saying subversive and not subversion.)

When ads started popping up on social media in 2011, not many people were expecting anything other than that of the “standard fair”. They were fairly innocuous, toting typical character slates and a new ClaRis song. Nobody seemed to care all that much outside of magical girl trash like myself. Then when fans of the genre saw the cool direction the show was heading as it aired, they shared it with others. Eventually a swath of anime fans Came to sing Madoka’s praises.

But as the internet is, when communities started coming together to dissect the show somebody threw the word deconstruction into the mix and now we’re here.

One thing people bring up in defense of the deconstruction argument is that Madoka features a collection of irrevocable character deaths, not recouped by the power of friendship. And while this is technically true I don’t understand what makes this qualify as deconstructive. Many of the deaths in Madoka end up just as friendship fueled, and arguably less meaningful in context of the multiple universe dilemma.


For better or worse you get it; But still may be asking- what’s the problem with Madoka being considered a deconstruction in the first place?

This is a rather daunting question because while it seems to be a non-issue, it affects not only the way we perceive deconstructions but that of the shows titled as such.

I want more people to get into Magical Girl-centric anime but those who label Madoka as superior to that of its predecessors stop potential fans from being created.

Believe it or not Mahou Shoujo is a much more flexible genre than it looks, capable of tackling difficult themes like that of abuse, love, identity and growing up.

Saying Madoka is contrary to the genre as a whole rather than being a darker take greatly limits what Magical girl as a concept is able to be. It harmfully obscures the shows that have celebrated and deconstructed the genre while simultaneously denouncing the messages they convey as “frivolous girly redundancy”. And that’s the last thing Mahou Shoujo is.

I decided to show off a few more names for my Monstie friends, but this time they come from more than one source! But still mostly @theload


First is a simple one, a bear monster by the name of Arzuros:

Arzuros is…just a bear. A monster bear. The name given by TheLOAD was Ursa which is pretty straightforward.


Nerscylla is a poison and sleep inducing spider, basically the physical manifestation of arachnophobia:

The newest member of my team, Nerscylla got the name Arachne, based off some Greek mythology. Arachne was a woman who challenged Athena to a weaving contest and was changed into a spider for her hubris. Arachne is actually where the word arachnid comes from! . And hey, did you know a giant spiders natural predator was a dragon? Speaking of which…



The Rathian! The female counterpart to the mascot Rathalos, she got a suitable name for her spot as Queen. Echidna! Not quite as perfect as Kharkhol, and much less uninformed, it’s a great name with her poisonous claws, tail, and her status among the Monster Hunter roster.


I said I had two that weren’t from TheLOAD, and here’s one of them:

Gypceros here was named Cicero by another friend, @eternally-riley after an evil clown of some sort that I’m not familiar with. For anyone who’s ever fought a Gypceros, that’s oddly fitting.


Second to last one for now is Qurupeco:

Qurupeco mimics other monsters, drawing them to their position for either aid or their own death, depending on the monster summoned. The name was suggested by a friend from work, Voice Box, which is a tad long, so was shortened to Vox. Vox has been crazy useful too, still on my team as I near the end game!


The very last one is again given by TheLOAD, to the amphibious monster Zamtrios:

Zamtrios is one part shark, one part frog, and one part balloon. We have the most perfect of names for our friend here. It is of course, Bruce.

Q & A (from a short interview long ago)

Q: I notice you have two rabbit-themed OCs that look kind of similar, are they related?

A: They’re not related but their designs are inspired by each other, and they both turn into rabbit plushies. Holly is my female mascot and Korokoro is my male mascot. Hearte is not a mascot but a character with her own series. However, because of her popularity, she often appears. 

Q: Is your named spelled Holly, or Hollee? I’m not sure which one to use.

A: I’m okay with either spelling; doesn’t make much of a difference. Holly is actually the name of my very first OC. Sometimes for online handles, I use my characters’ names, but this one ended up sticking with me (Kaze-Hime was also another OC). These days I tend to use Hollee more.

Q: Your handle used to be Kaze-Hime, why is it Soundlesswind now?

A: I still go by the former. Or rather, I’m still stuck with the former. Soundless Wind is better explained as my website name…or I suppose, a world name to group all my characters together. It’s based on the image of a spinning galaxy, in space where it is too distant to hear any gust sound.

Q: When did you start drawing? What inspired you to draw?

A: When I was very young, I really liked Sailor Moon. I thought she was super pretty and I wanted to connect with the show somehow, so I drew. Because the series ran for some time, I ended up drawing a lot. The adults around me thought I had a natural aptitude for it, so they let me continue.

Q: How did you get into Digital Art?

A: I’ve had a computer since forever, so I often drew on MS Paint and made short videos in my spare time (which I had a lot of). I then started making web layouts, and seeing my interest in it, my brother gave me Photoshop 6. Eventually I ran into Hiromi-chan’s Sugar Caramel Box site and found out about CG artwork. I was astonished that someone so young could be so talented. It was a world I hadn’t known about before. — Afterwards I researched and learned from a tutorial site called Polykarbon and started colouring my pencil scans with a mouse (2003/4). During this period I became friends with Zeiva, and her detailed style fired me up, so I tried really hard. — Sometime after I joined DeviantArt, my brother bought me a tablet for my birthday, and though it took me a long time to get use to it, I eventually became very comfortable with drawing in a new manner. I’ve always liked tinkering with software, so the practice of digital art was extremely interesting to me. 

Q: How did you develop your really detailed style?

A: Hmm…I don’t think I particularly aspired to be very detailed at first, but I was definitely trying to learn more and more techniques. At some point in time, my friend told me that my drawings were pretty messy up close, so I treated it as a challenge and became more attentive to detail…and one thing lead to another. Style isn’t something one should force, I feel. Just let it happen.

Q: You probably get a lot of messages, do you manage to answer them all?

A: Unless I’m doing a meme, I pick a few random or most recent ones every now and then to answer. In truth, nope, I’m quite overwhelmed… I try to read as many as I can though, and I’m always very happy to receive new asks. My inbox is always flooded though, so I might not get back to someone for a very long time.

{I want to petition to make sharks the next big Feminist Mascot. Because female sharks are essentially massively badass. They’re usually larger and stronger than their male counterparts, and can reproduce asexually and at their leisure.

Excuse you, I’m fabulous. And I’ll eat you if you think otherwise.

You’re not entitled to my body! Your arm will only fuel my rage.

Sleek and curvy all at once. Shark ladies represent for all shapes and sizes.

I’ll eat what I want and maintain my killer body how I choose.

WHAT DID I TELL YOU ABOUT TOUCHING ME.

Plus I can be super sweet and majestic, just watch me.}