The beauty and power of helplessness.
Despite the name, both men and women can channel this archetype. Male Damsels in Distress are still called Damsels in Distress.
The Damsel in Distress is characterized by need. She finds herself in peril of some kind, and because of that peril, attracts help or rescue, setting up a situation for others to demonstrate heroism.
The Damsel in Distress is certainly not an active character in archetypical fiction. She does not do – she drives and impels others to do. She is to a hero as a muse is to an artist.
This archetype has a very serious negative aspect. The Damsel in distress is a passive, weakening force. Her path is a path of delicate, bland, fragile helplessness. This is an archetype deeply objectionable to any who profess independence. Since it’s most often an archetype pursued associated with female traits, it’s furthermore the antithesis of any form of feminist thought. The Damsel in Distress is the opposite of the Flying Woman.
On the other hand, taken out of the context of sexual politics, the idea of the Damsel in Distress can be ennobling. The idea of being driven to help and protect the needy is certainly commendable. Even in this sense, though, many find the idea objectionable and belittling.
In some sense, this archetype is similar to The Martyr, in that she is a victim whose victimhood is meaningful. However, the Martyr acts for a cause, while the Damsel in Distress is the cause. A Damsel in Distress
isn’t a victim voluntarily – he is helpless by nature, not sacrifice. He does not demonstrate courage; others are courageous on his behalf.
Attributes: The nobility of victimhood. The passive goal of heroism. Where people rally together to help those who are helpless, the Damsel in Distress is channeled.
Masks: Innana in the Underworld, requiring rescue (Sumerian). Helen of Troy, as well as Penelope. (Greek) Perhaps Osiris (Egypt) or Balder (Norse). Sleeping Beauty, Snow White, Rapunzel, and Little Red Riding Hood (European Folklore).
Suspected Avatars in History: Princess Anastasia, the tsar’s daughter who disappeared after the revolution and was sought by so many. The boy who fell down the well and needed to be rescued – and many other children who are famous for the rescues they needed.
Symbols: Towers. White handkerchiefs. Conical hats with veils. Ropes and train tracks. Milk cartons. Being tied down and bound, or any kind of imprisonment. Places that require climbing to reach.
Taboo: Two taboos restrict the Damsel in Distress. First, the damsel in distress must be attractive. Homeliness and disarray weaken the connection to this archetype.
Second, the Damsel in Distress must not behave aggressively toward anyone. Deception and avoidance are acceptable, but taking aggressive or confrontational action is taboo.
Channels:
01-50 When things go wrong for the Damsel, it cannot become a secret. With a successful Avatar: the Damsel in Distress roll, she can make any negative situation she’s having become discovered by at least one person capable of helping.
51-70 By making eye contact with someone and rolling against the Avatar: the Damsel in Distress, the Damsel can convince anyone of his innocence. This may not guarantee good behavior or kindness, but will convince others of innocent intent, even if it is not true.
71-90 The Damsel of distress can make a Avatar skill roll to summon a hero, specifying the type of hero he needs. The hero will be drawn, by coincideence or compulsion, to the location of the damsel.
91-98 Whenever anyone attempts a roll which relates to helping, protecting or rescuing the Avatar, the helper can flipflop all rolls. The Damsel’s rolls are not increased.
Add:
Damsels can be used as cult deprogrammings as well as cult recruiters.
A channel allowing the damsel to volontarily be captured (and rescued) thereby putting a “spotlight” on her capturers, making them seem evil to the world in general.
Something about how constantly getting in harms way is dangerous and hard on relationships.
I’ve played this myself in a campaign. We came up with pretty much the same channels, except actually being innocent was required and the second channel was not so much innocence as treating the Damsel in the nicest way possible. Surly security guards would brighten up and offer her a sweet, recalitrant receptionists would tell her how adorable she was and cheer up, hardened punks would suddenly find it hard to raise a hand against her (she was 15 btw). It’s a definite avatar, everyone knows it, but it’s hard to play, because the Damsel is by neccessity a bit useless. You know, we need to break into the building, let’s NOT bring the Damsel along, she’s *bound* to get into trouble (the universe does, after all, have to drop danger on the Damsel to fit the stereotype) and then so will we, and worse, then cops will turn up to rescue her and the whole secret will be exposed. Let’s just give her milk and cookies and get someone to stand guard over her. It’s also hard to offer bright suggestions to the party because of the nature of innocence – you know, the Damsel can’t help effect her own rescue. “Why don’t you knock him out/kill him with the Doctor’s anaesthetic?” doesn’t really come well from the Damsel’s mouth. Your write-up is v.good though!