Gender, Feminism, and Heroism in Joss Whedon and John ...

elieve, curbs the possibility of feminist readings more generally in superhero texts by
limiting the ways in which female characters can achieve powerful positions.
A few more recent texts have made further strides through heroines who not only
transgress gender roles but also transgress the norms of gendered heroism described
above, with the title characters from Buffy the Vampire Slayer (1997-2003) and Xena:
Warrior Princess (1995-2001) being prime examples who unite femininity and heroism.
Buffy’s petite body and feminine appearance function as a form of camouflage. Looking
like a girl who adheres to feminine appearances and behaviors allows her to blend in with
her peers and often functions as an edge over her enemies (Buttsworth, 2002). Notably,
this camouflage also creates seamless transitions between Buffy’s roles as a girl (e.g.,
student, daughter, friend) and those as the hero. With no secret identity or costume
change, it is the student, daughter, and friend who is the hero—they are all parts of the
same multi-faceted identity. Buffy also mixes both masculine and feminine fighting
tactics, most notably by frequently using her brute strength in the context of planning and
calling upon her friends or other slayers, and she eventually uses these mixed tactics
outside male-dominated governing bodies like the Watcher’s Council and the ancient
order that created the first slayer. She must negotiate her own role as a heroine, at times
accepting and at times eschewing the cultural connection between heroism and
masculinity (Early, 2001). The representation of Xena employs a critical sensibility to
comment upon her role in the context of popular culture through the character explicitly
addressing and questioning the sexism of her world, pondering why the men surrounding
her insist upon objectifying her body instead of focusing on the fact that she is much
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