Over forty-four years ago, on September 3, 1980, the series finale of the now-classic Rose of Versailles, entitled “Adieu, My Beloved Oscar,” aired on Japanese television. It depicted revolutionary leader Louis Saint-Just telling an assembly of Frenchmen, in 1792, that “the King’s own existence is itself an unforgivable crime” and “The King is the crime!” Maximilian Robespierre followed. He said the same, also seeing Louis XVI as a threat, and argued that the King’s very existence is “criminal.” Later both were executed during post-revolutionary political turmoil. This is shown in the completely remastered two-volume Blu-ray edition of the series released by Discotek Media, in 2021, which included restored English subtitles.
This echoes what Oscar François de Jarjayes (voiced by Reiko Tajima) said many episodes earlier, in the fourteenth episode. She declared “to hell with the nobility!” Her statement followed an exchange with her father who demanded she ignore the suffering French peasants and her warning that not taking action would lead to something bad in the future (i.e. the French Revolution). Oscar would express this same sentiment in many other episodes, as her class consciousness grows throughout the series. Ultimately she splits from the monarchy and dies as from a musketball as her fellow soldiers-in-arms storm the Bastille on July 14, 1789.
Oscar’s sentiment, and that of Saint-Just (and Robespierre), is timely now, with Americans telling pollsters that they do not support giving presidents more power. Current events, and watching Rose of Versailles, inspired this post, which will highlight recent depictions of monarchies and monarchs, whether in Western animation or anime, noting those which show monarchs and monarchies positively or critically. Be aware that there will be spoilers for each series examined in this post and that mature topics will be discussed.
There have been many depictions of princesses and princes in animation, as of late, whether crown princess Mira Gotokuji in Astro Note, crown prince Virgile Vierge in From Bureaucrat to Villainess, the Princess headlining the series ‘Tis Time for “Torture,” Princess, the three princes (Rod Bauer, Thane Bauer, and Yu Bauer) in I’m Love with the Villainess, princess of hell Charlie Morningstar in Hazbin Hotel, Princess Fione in Suicide Squad Isekai, Princess Ilana Rostovic in Creature Commandos, or the royal characters shown in The Dragon Prince. While some of these series do not criticize the royal status of these characters, others depict the royals either removing themselves from their royal responsibilities (Mira Gotokuji) or show them as murderers (Ilana Rostovic), to give some examples.
Back in March 2023, in my review of The Magical Revolution of the Reincarnated Princess and the Genius Young Lady (also known as MagiRevo), I contrasted the bureaucratic slow-moving monarchy in the series with the seemingly “enlightened” and “benevolent” monarchy in Elena of Avalor and the incompetent one in Disenchantment, with Princess Bean as a “rebellious, alcoholic, adventurous princess.” I noted that in Magi Revo, the King is reformist, fighting against institutionalists and conservatives among the royal ruling class. Anisphia “Anis” Wynn Palettia is an indicator of how someone can have independence, even under monarchy, like Elena Castillo Flores, to an extent, in Elena of Avalor. In another post, I pointed out that one well-constructed aspect of the series is the internal struggle Anis must confront when faced with the prospect of becoming queen. The latter is noted, by Erica Friedman, in her review of the light novel’s seventh volume, when talking about the happy-ever-after for Anis and the woman she loves, Euphyllia “Euphy” Magenta.
Monarchy can be defined many ways. My trusty Fourth Edition of the Webster’s New World College Dictionary states, on page 929, that monarchy is a rule by only one person, a government or state headed by someone either with absolute power if there is “no indication on the monarch’s power.” It can be constitutional if there is are limitations. A monarch, the dictionary states on the same page, is a single or sole ruler of a state, like a King or Queen, who gain powers through hereditary or constitutional means. Also called a kingdom, this form of government is either directly, or nominally, vests its sovereignty in someone who usually lives in a palace. Nobility is broader. It’s defined in the same book, on page 977, as someone with high rank or station in society, as was the case in France, Great Britain, and elsewhere. It’s a class of those with noble rank or with hereditary titles.
Like MagiRevo or Diesenchantment, there are other series are critical of monarchy. One of those is the aforementioned I’m in Love with the Villainess. The protagonist, Rae Taylor, pushes aside original romance routes with the princes of the otome game she has reincarnated in, since she was originally a Japanese woman named Ooshashi Rei who overworked her to death. She sets her eyes on a noble named Claire Francois and aims to give her a happy ending before the revolution happens. It is made abundantly clear that she is only dedicated to Claire but has no affinity for any other noble. Over time, Claire begins to sympathize more with the commoners. The series also focuses on a power struggle between the Spiritual Church and royal family, with the church said to be fomenting animosity between nobles and commoners.
Later, a tomboyish princess from Sousse, named Manaria, challenges Rae to show her love for Claire. This ultimately leads Claire to boldly declare “Rae belongs to me! You can’t take my things from me!” After this she calls Rae by her first name, rather than “commoner.” The latter is reflected in the spinoff light-novel series, entitled I’m in Love with the Villainess: She’s so Cheeky for a Commoner, which is from Claire’s perspective. All in all, the series is critical of monarchy. Erica Friedman noted that the sweet life of Rae and Claire was “built in the ruins of a revolution to take down a monarchy,” which sadly isn’t in the anime adaptation. While the aforementioned spinoff light novel series has ended, the manga continues. The author of the manga (and light novel), Inori, has another series on the way, entitled .
This series is not unique in criticizing monarchy. Astro Note, an original romcom and sci-fi anime, with a great retro-looking anime art style, which aired last year, has a protagonist, crown princess Mira Gotokuji, at its center. Through the series arc, she falls more in love with Earth, and with a man, and former chef, she met on Earth: Takumi Miyasaki. She decides to stay with him in the final episode, as I noted in my article in December 2024. She rejects her “destined” royal title (i.e. to return to her home planet and be crowned as Queen) and declares that things decided at birth are not always right and wonders if they need to be upheld, saying she was unhappy on her home planet but is happy on Earth. This is after she releases her dog-like companion Naosuke from his duties and a human travels to her home planet in her place.
The latter echoes what Pink Diamond tells Pearl, in the Steven Universe Season 5 episode “A Single Pale Rose,” before they commit the biggest crime the other Diamonds (White, Blue, and Yellow) could even comprehend: shattering herself. Of course, the whole thing is a set-up. Pearl, gets her last-ever command from Pink. She changes her form into “Rose Quartz” (the identity that Pink chose for herself), so they think she “killed” Pink. In reality, Pink rebelled against herself, at first, but was later inspired by “unauthorized” fusion of a Ruby gem woman and a Sapphire gem woman. The reveal that Rose Quartz is Pink causes ripples among the Crystal Gems, the gem women (Garnet, Pearl, and Amethyst) who are the guardians of eponymous protagonist Steven Universe. It leads to the series finale, in “Change Your Mind.” Steven, with the help from Blue and Yellow, tries to convince the rigid White Diamond to help the Gem women who were corrupted when White, Blue, and Yellow launched an attack on Earth. They refused to let anyone live free.
Monica Ramsy noted, in an article for the California Law Review, that the Crystal Gems rebelled against the Diamond oligarchy of Homeworld. Each Diamond used their Gems to colonize other planets. One Diamond, White, ruled over them all. Pink staged a “fight for Earth’s self-determination” and faked her own death, colonization of Earth, her “would-be colony,” to be sabotaged. As Ramsy stated, the series asserts that “evil” is socially conditioned and those who are “villains” have the ability to turn good. The Diamonds are not, necessarily, evil, but are “suffering from oppressive norms.” In her article, Ramsy did not mention Steven Universe Future. In that series, Steven is haunted by his trauma and his connection to Pink Diamond. He is horrified when he gets diamond eyes and shatters Jasper after she eggs him on, playing off his emotion-triggered pink powers.
Criticism of monarchism, in Steven Universe and Steven Universe Future, differs from She-Ra and the Princesses of Power. The series, created by ND Stevenson, is progressive in terms of representation of gender and sexual identity, more than the original series which aired in the 1980s (She-Ra: Princess of Power). However, monarchy isn’t approached critically. In fact, the “heroes” of the story form themselves into a Princess Alliance, which is challenged by an “evil” bureaucratic, rigid, and sterile army named the Horde. The Princess Alliance includes a hippy princess named Perfuma, a mermaid named Mermista, and many others, each with their own elemental abilities, Some, like the autistic “geeky princess,” named Entrapta, join the Horde, after the princesses do not treat her with respect and exploit her skills. She later changes her mind and helps the heroes fight the villainous Horde Prime. She has to re-earn the trust of the princesses, just like Scorpia. At the same time, Hordak is not a one-dimensional villain, but is being subjected to oppressive norms.
In other series, being a royal is accepted as normal, without any criticism. Consider chief engineer on the USS Cerritos, in Star Trek: Lower Decks, named Andy Billups, who’s also a prince of Hysperia, or cursed Trojan princess Cassandra in Gods’ School. The latter two examples have similarities with other series. For instance, the brown-skinned Cleopatra “Cleo” is a rambunctious teenage princess from Ancient Egypt. She travels to the future, by accident, in the first Cleopatra in Space episode, which is adapted from Mike Maihack’s graphic novel series. While she loses her royal status due to time/space travel, she later takes on a sort-of royal status, as savior of the galaxy, who’s supposed to save them from Octavian.
Similarly, Yuna, a protagonist of Kuma Kuma Kuma Bear, is often pulled into the world of nobles. Even the Crimonia feudal lord, Cliff Foschurose, owes her favors. Later, she agrees to make picture books for those in the royal castle, but not anyone outside of it. Various princesses are part of the Yuna fan club. Additionally, all the royal subjects, in the animated film adaptation of ND Stevenson’s graphic novel (and originally webcomic) entitled Nimona, love the Black female queen Valerin. She is killed, by accident, by Ballister Boldheart, who is set-up. If you used what the Black Knight said toward Oscar in episode twenty-seven of Rose of Versailles, these subjects would be the queen’s lapdogs. Furthermore, although a Prince-like cat man named B’Caala wants political power by any means necessary in My Dad the Bounty Hunter, would hint that the series criticizes royals, one protagonist, Sa Janeera, is a princess!
All these positive depictions of princesses and princes are unsurprising. After all, Disney, of course, has its well-known princess line, with specific rules for which characters should be considered “princesses.” This comprises, according to the line’s official website: Princesses Tiana, Ariel, Rapunzel, Moana, Cinderella, Snow White, Aurora, Jasmine, Cinderella, Mulan, Merida, Belle, Pocahontas, and Raya. All these individuals were depicted in a Season 2 episode of The Proud Family: Louder and Prouder, in terms of characters dressing up in their outfits. One individual shown in that episode is not on this list: Elena Castillo Flores, despite the fact that she appeared in a Disney Junior series named Elena of Avalor which aired for over four years (2016-2020). Nor is Sofia, the star of Sofia the First (aired 2013-2018), and also a princess, in the same universe as the former-mentioned series.
Elena of Avalor treats the eponymous protagonist as a benevolent monarch. While Elena Castillo Flores encounters many challenges along the way, as she serves as Crown Princess of Avalor, including facing an evil witch named Shuriki (who killed her parents), there is no popular revolt against her. Instead, there’s only a nonviolent revolution-of-sorts by Avalor’s populace, backed by a foreign power (Enchancia), against the aforementioned witch, allowing Elena to become crown princess and ruler of Avalor through this coup d’etat. As such, everyone seems to be content to be ruled by an unelected, young princess, who’s a monarch that chosen through hereditary means, and helped by a council of advisors. In the series finale, she is crowned Queen. While her struggles through the series, as a Latine princess, are clear, as she is helped by her friend Naomi Turner, she is never romantically paired with any other characters, the series never criticizes the royal right to rule or monarchism. In fact, other princesses are featured (Caterina, Marisa, and Valentina) and have key roles.
The above-mentioned series is not unique in depicting monarchy, and royals, in a positive light. Take the three-season series, Rapunzel’s Tangled Adventure as an example. While Rapunzel has been depicted across media, ever since the story Persinette, a French literary tale on which Rapunzel (a German fairy tale) is based, this is the first Disney animated series to specifically focus on her. In this series, she suffers child abuse at the hands of Mother Gothel, who uses Rapunzel’s magical hair so she can stay young. She is saved by the dashing Eugene Fitzherbert and soon brought to the kingdom of Corona, where she meets the King and Queen. They are her parents. She becomes a princess and Eugene her fiance.
There’s more to the story than this, however. Rapunzel’s friend, Cassandra “Cass,” who is her personal handmaiden and servant, feels she is second-best. She is mentally manipulated by a witch named Zhan Tiri to vent her anger by using the moonstone’s power While she serves as a “villain” opposed to Rapunzel “Raps”, and the crown itself, she wants power for herself, to control her own destiny. In this way, she becomes almost like a princess, ruling over the Dark Kingdom, which happens to be where Mother Gothel’s tower was located. It is later revealed that Mother Gothel is her birth mother, leading to a false narrative promoted by Raps, and by some story elements that Raps and Cass are sisters, when they really aren’t. In any case, the royal right to rule is never seriously challenged in the series, either by Cass nor by Varian the alchemist. This is one of the series’ flaws.
Otherwise, there’s other positive depictions of princes and princesses, whether Samurai Jack in Samurai Jack, Princess Ilana in Sym-Bionic Titan, Princess Aja Tarron and Prince Krel Tarron in Tales of Arcadia, Princess Arkana Goodfey and Zarya Moonwolf in Mysticons, all the protagonists of LoliRock, and many characters in Mira, Royal Detective. It is revealed, in the beginning of Samurai Jack, that “Jack” is the son of Japan’s unnamed emperor. Apart from the various princesses (Shivani), and princes (Neel and Veer) in the India-inspired Mira, Royal Detective, the protagonist Mira, is a detective with royal permission to solve cases. She is comfortable with the monarchical system. Not even the thieves, in the series, fundamentally challenge the royal rulers. It remains an open question whether, in any of these series, it is a crime to criticize or insult the royal family.
None of these series are necessarily “bad” or poorly done. Rather many of the previously mentioned characters push forward a certain ideal: that those in royalty should be respected. There’s the implication these royals have the best interest of their subjects at heart. As one recent article noted, the existing media narrative creates a “biased portrayal that reinforces the monarchy’s image as a benign and benevolent institution, thereby perpetuating its cultural relevance and public support.” Lack of critical examination allows royal families to “maintain their status and privileges with minimal accountability.” Animated series are not mentioned in the article, but they are clearly part of this narrative. On that note, consider that many princesses appear in the Pretty Cure franchise. Said protagonists are magical girls, which refers to characters with feminine interests like romance, femininity, and child-rearing, and with cute appearances “resembling idol singers or princesses.” One of the more recent examples is Soaring Sky! Pretty Cure.
Although I thoroughly enjoyed the series, there is no denying that the four protagonists (Sora Harewataru, Tsubasa Yuunagi, Mashiro Nijigaoka, and Ageha Hijiri) all protect the only princess of Skyland named Ellee. Although Sora sees Skyland general Captain Shalala as a rolemodel rather than a prince, king, or princess, this does not change the fact that she, like the other Pretty Cures, are protecting the monarchy. Those they are fighting, are a royal, and imperialist force, calling themselves the Underg Empire, which feeds off negative energy, and led by Empress Underg. Unsurprisingly, this series, while showing the Underg as an enemy force, does not, like some other live-action series, such as The Crown, present monarchy critically or address “more problematic issues like colonization.” On the other hand, some disagree with this description. Reviews in this very publication note how The Crown focused on, especially in earlier seasons, how the “institution of the monarchy impacted the relationships of those within it” but also was “pro-monarchist.” Furthermore, princesses are at the center of Go! Princess Pretty Cure and HappinessCharge Pretty Cure!, just like they are in Princess Knight.
Apart from Mitsuha Yamano forming a female friendship with a princess named Sabine in Saving 80,000 Gold in Another World for My Retirement, or the strange plotline about a space prince in the recent batch of Futurama episodes, the privileged Princess Syalis in Sleepy Princess in the Demon Castle, the princes in My Next Life as a Villainess: All Routes Lead to Doom! (Alan Stuart and Geordo Stuart), there’s one series which stands out. It puts princesses and princes at the center: Sailor Moon. Not only are all the Sailor Scouts actually princesses, but there’s Prince Endymion (“Tuxedo Mask”), Prince Demand/Diamond, and Saphir/Sapphire. The same is the case in the reboot entitled Sailor Moon Crystal. Recently, Sailor Moon was referenced in Adventure Time: Fionna and Cake. It has been referenced in many media since then it originally aired.
Although Vivienne Medrano’s two interlinked series, Helluva Boss and Hazbin Hotel both feature royals, whether Prince of Hell Stolas, which gives the demon assassins access to the human world, or Princess of Hell Charlotte “Charlie” Morningstar, the latter is a bit more critical, in some respects. I say this because Charlie, who is bisexual, runs a hotel with her girlfriend, Vaggie, which attempts to redeem sinners, and she stands up against Heaven’s genocide. However, the series does not directly challenge the royal right to rule, unlike series such as The Executioner and Her Way of Life. The latter features a warrior princess named Ashuna, who fights alongside one protagonist, Momo. She has little regard for her noble status.
Additionally, the adventure fantasy anime, The Vexations of a Shut-In Vampire Princess, which I intensely disliked partially due to sexual harassment of the protagonist, centers on a hermit vampire princess named Terakomari “Komari” Gandesblood. She awakens and learns that she is commander of an army, as arranged by her father, which is notoriously insubordinate. Not only is she royalty, but many of those she cooperates with are royalty. She is forced to make it clear to the world, and those in her nation, what kind of princess she is, on the battlefield. That series reminds me of Cursed Princess Club turning tropes of Disney-esque fairy tales, about princesses, upside down, and another comic, The Pirate and the Princess, centered around a princess and a pirate captain. In the latter, the princess, Kirianna, realizes she’s more at home on the pirate ship than in an arranged royal marriage.
In writing this article I’m not reminded of Diana/Wonder Woman as a princess in the DC Comics (and related series), but at how integral monarchy is in Star Wars. One of the first characters which audiences saw in 1977 was Princess Leia Organa. Her adoptive father is Bail Organa, a prince, and her adoptive mother is Queen Breha Organa. Furthermore, Darth Vader is often called Lord Vader and the one who led the Galactic Empire is: Emperor Palpatine. The prequel series began with a film taking place, in part, on Naboo, where the “heroes” have to help the people of Naboo, who are ruled by a monarchy, and the nearby Indigenous inhabitants. That’s the film which introduces elected-queen Padme Amidala.
This is also reflected in various animated series, whether Star Wars: Clone Wars, the longer Star Wars: The Clone Wars, Star Wars Rebels (partially), and Star Wars: The Bad Batch (more directly), to varying degrees. Even so, it is a mixed bag, in terms of criticism. Vader and Palpatine are depicted negatively, while Padme and the Naboo (and later royals of Alderaan), or those of other star systems (see Andor for instance) are shown more positively. The “good” royal rulers of Alderaan or Naboo are never shown engaging in colonialism, imperialism, or anything of the like. They are implied to have stable social structures. I’m not sure what any of them would say to what Rosalie Lamorlière tells Oscar, in the twenty-sixth episode of The Rose of Versailles, that the nobles only care about “their [own] prestige and power.” They would probably dispute it, but she would still have a valid point.
The same is the case for royalty in Avatar: The Last Airbender and The Legend of Korra. In the latter, royals, like Wu, Bumi, Hou-Ting, Desna, or Izumi, are often either harsh, incompetent, tyrannical, not fit to rule, or remain “neutral.” One of the villains, Zaheer, spends the second season of Korra killing world leaders, or attempting to, including royals, like Hou-Ting (who certainly deserved to die). In the former, royalty are either caring (Yue), power-hungry (Azula), or next-in-line for the throne (Zuko). In the series conclusion, Zuko becomes Fire Lord through hereditary means. The Avatar supports it, rather than calling for elections, showing he’s only maintaining “balance” but not supporting democracy, unlike Korra.
I am also reminded of the abusive prince Dios/Akio Ohtori in Revolutionary Girl Utena and the Rose Bride Anthy Himemiya in the same series, the so-called “benevolent” monarch T’Challa (“Black Panther”) who becomes the King of Wakanda in Black Panther, or Princess Charlotte in Princess Principal. In the latter case, even though she has royal lineage and she wants to become Queen, so she can re-unify her country, she fights among fellow spies. Additionally, it’s revealed she is the real Ange, and got caught in this assumed identity due to a revolution, meaning that she is hiding her true self in one way or another.
Adventure Time, and its varied spinoffs (Adventure Time: Distant Lands and Adventure Time: Fionna and Cake) give a relatively critical view of monarchs. For instance, there’s Princess Bonnibel “Bonnie” Bubblegum and Marceline “Marcy” the Vampire Queen and the Earl of Lemongrab. Bonnie does whatever she can to maintain the Candy Kingdom, even if it involves mass surveillance, and other means of control. At one point, she holds an election. She loses and retires to a country house with Marcy, for some time. As for Marcy, she doesn’t care about her supposed royal role. Ultimately, Bonnie and Marcy abandon their royal obligations and begin living together. This may have been for the best, since as one reviewer asserted in this publication, “the problem is real elective monarchs have failed.” However, in Adventure Time, Bonnie ended up in charge again, but not until later on.
It would be wrong to not mention Kipo and the Age of Wonderbeasts. The series will appear on my list of my favorite animated series this year. It specifically features one character, an orangutan named Scarlemange. Thanks to human experimentation, he gains the power to speak and talk. He desires to become emperor of all the mega-animals over humans. His plan is to take over the entire surface and enslave humans. He even holds a coronation where he almost kills everyone by turning them into gold. His strategy fails, but no one forgets what he did. Hence, his planned creation of an absolute monarchy is shown in a very negative light, which has more relevance, than ever, now.
I am not surprised to see positive depictions of monarchies and monarchs in media, like in Star vs. the Forces of Evil. Even so, the King and royals are shown, somewhat negatively, in the Kizazi Moto episode/film “Hatima,” while the self-declared King (Xavier) of Herkleton Mills in Craig of the Creek, is shown critically. Furthermore, there’s stories like Edgar Allan Poe’s “The Masque of the Red Death” which focuses on a “prince who gathers his rich friends within a castle” while a plague spreads across the country, killing all who are exposed. Ultimately, those in the castle are exposed to the virus and end up dying, showing no one is safe from the disease. Even so, the positive view of royals may have influenced Tatsuya Endo to give one of his characters the assassin code name “Thorn Princess.” That is the name that Yor Briar (later Forger) used in Spy x Family, even as she is not a actual princess.
Of course, there are many more examples I could highlight in this post, whether the “majestic” and “wise” Mufasa in The Lion King, the loving King Triton in The Little Mermaid, the eccentric Julien in Madagascar, or any of the films by Black filmmakers which focus on historical African monarchies which is said to be a testament to the “continent’s rich and diverse cultural heritage.” In today’s world, some have said that monarchy cannot only survive but thrive “under bourgeois domination,” and that monarchs are often “seen as custodians of national history and culture” while having soft power, if they are more ceremonial. Presently, there are over forty countries with a monarch as a head of state. More than half of them are in Asia and Europe, and the others are in the Americas, Oceania, and Africa.
I end with Mohandas Gandhi once said, in early July 1947: “if instead of insisting on rights everyone does his duty, there will immediately be the rule of order established among mankind. There is no such thing as the divine right of kings to rule.” He also stated that “the humble duty of the ryots [peasant cultivators] to pay respectful obedience” does not exist.
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