Joss Whedon shares a lot in common with the Greek god Hephaestus—and I don’t mean that he’s a hairy, ugly dude conceived by his mom through parthenogenesis in a fit of jealous pique and thrown off Olympus with such force that he fell for nine days.¹ Hephaestus was the armorer of the gods. He made Zeus’s thunderbolts and scepter, Athena’s shields, Eros’s arrows, Achilles’s armor, and Helios’s chariot. But there’s a certain blurring of Hephaestus’s specialization, if you rummage through The Iliad. In Book Eighteen, Hephaestus is shown not only as a manufacturer of weapons, but of women, having created two artificial maidens made of gold as his workshop help who are as smart and skilled as any living girl.

I bring this up because the idea of a woman as created by a weapon-maker within Patriarchal contexts is a recurring motif in the worlds imagined by Joss Whedon, the so-called “Whedonverse.”² It’s a motif, perhaps better defined as “the woman as weapon,” that reaches its apotheosis with the developmental journey of River in Firefly and Serenity. I say it reaches its apotheosis, because as I write this, she’s the most recent example of this trend; there could be more in Whedon’s future work that are more apotheosis-y. But for now, let’s take a look at River’s creation and development as a weapon—as the creation of weapon-makers—by first taking a look at a few of her antecedents. The motif of the woman-as-weapon is a fairly complicated one, with a number of  …