[Essay] Beyond Proportion: Superheroines with Long Legs, The Sexy History

Ed Sum

9 months ago

[Essay] Beyond Proportion: The History of Superheroines with Long Legs Anyone tired of the “long-legged Asian female superhero” fetish can fear not! Not every work is like that, and after watching Kpop Demon Hunters, I had to look back at how overused this style is. There’s just too many Superheroines with long legs and a trip through memory lane is needed to understand why. But it was the late 20th that made this trope even more popular when artists in Europe embraced the style.

In part two, I’ll offer a guide on products not afraid of being different. But first, we have to understand why this motif continues. The reasons are many, and part of it comes from cultural and industry beliefs. In Japan, some creators may claim that creating a female with long legs is a symbol of grace, femininity, and elegance, there’s evidence that reveals the opposite. (1) In anime and manga, these standards get exaggerated for visual impact. This is especially true for the magical girl genre. (2) While artists can say they have more creative freedom when drawing them in action poses, perhaps they haven’t taken the time to study human anatomy. That includes observing what ballerinas and practitioners of yoga can do!

While some roles include fighters, assassins, or martial artists (like Faye Valentine in Cowboy Bebop, Motoko Kusanagi in Ghost in the Shell, and to some extent, Sailor Moon), being agile or able to fit into a torpedo tube is often implied. However, these depictions are common in the Shōnen and Seinen industries, which historically target male audiences. In these genres, long-legged female characters often blend fantasy with stimulation rather than outright sexualization.

Artists like Masamune Shirow (Appleseed, Ghost in the Shell) and CLAMP (Cardcaptor Sakura, X/1999) contributed to this exaggerated aesthetic. Extremely stylized limbs characterize the latter’s work. This style was also prominent during the “golden age” when anime and manga gained recognition in the West. The 1960s and 70s were a period of extensive experimentation, and this trope emerged through key works such as Princess Knight (Princess Knight (the full series is available to watch on YouTube), Sally the Witch, Hilda, and especially Cutie Honey.), Sally the Witch, Hilda (not the Netflix series), and especially Cutie Honey.

Also, artists like Leiji Matsumoto’s Minmay (Yamato) and Queen Emeraldas feature attractive, long-legged, females. They are representations where elegance and flair typically meant stylization over realism. That’s true with the latter, where the romanticism and visual aesthetic won out. Although the world this author created is elegant, he was not averse to over-sexualizing his character creations. Despite lacking the same level of sexualization as Go Nagai’s heroines, this creator’s female characters inspired generations of manga artisans. Notable examples include Vision of Escaflowne and Cowboy Bebop.

And when this aesthetic has bled into Western pop culture, the most recognizable cheerleader has to be Psylocke. She was attractive before, but transferring her mind to another body heightened her allure, a fact artists readily exploited. Although the storyline explained the change, Chris Claremont, the writer of The Uncanny X-Men, never revealed his motives. (3) Controversy followed, including discussions about its cultural implications and the concept of “yellow face” in comics. The sexualization and overstimulation can become excessive, and writer David Brothers from the ComicsAlliance website effectively argues how that can detract from a story. (4)

Across the Atlantic, products by European artists developed independently. Two notable examples are Valentina—Guido Crepax (Italy, 1965) and Yoko Tsuno—Roger Leloup (Belgium, debut 1970). The reasoning behind how their profiles developed was not for fan service, but to show these are capable heroines.

These efforts are worth seeking because the latter would eventually pave the way for the coming of Euro Manga. This subgenre didn’t earn its legs until Winx Club debuted in 2004 and saw instant popularity. Since then, other productions like W.I.T.C.H and Totally Spies! have emerged. And currently, the acceptance of Miraculous: Tales of Ladybug & Cat Noir remains strong. With the latest, Kpop Demon Hunters, this visual aesthetic highlights why this styling is important, but when will this trend conclude? While no explanation exists to say why some female producers are okay with using this trope, the prevailing response lays in the fact they simply know what sells.

Thankfully, there are creative talents who want to subvert it. In part two of this look back, I’ll introduce a guide of easily accessible works for those who prefer variety in their entertainment. Even everyday heroines deserve their due on the big and small screen.