Ella Walter
Pan, the granddaughter of Goku and daughter of Gohan and Videl, is a beloved character in the Dragon Ball series. There has been much confusion about her age, with conflicting information provided by different sources and versions of the show. In Dragon Ball Z, Pan is introduced as a baby and is four years old at the 28th World Martial Arts Tournament. In Dragon Ball GT, which takes place after Dragon Ball Z, Pan is ten years old, five years after the tournament, making her around five years old in Dragon Ball Super. However, the English dub of GT states that the show takes place ten years after Z, which would make Pan 14 or 15 years old at the beginning of GT. The official Japanese version, along with the Daizenshuu 7 timeline, places her age at nine or ten years old at the start of the series.
| Characteristics | Values |
|---|---|
| Age in Dragon Ball GT | 10 years old at the start, 11 years old at the end |
| Age in Dragon Ball Super | 5 years old |
| Age in Dragon Ball Z | 4 years old |
| Appearance | Pale skin, black eyes, short hairstyle resembling her mother Videl's |
| Heritage | Quarter-Saiyan, three-quarters Human |
| Family | Daughter of Gohan and Videl, granddaughter of Goku and Mr. Satan |
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What You'll Learn
Pan's appearance and character design
In terms of character design, Pan is depicted as a skilled fighter and a quarter-Saiyan. She is the granddaughter of Goku and the world champion, Mr Satan, and the daughter of Gohan and Videl. She is trained by her grandfather, Goku, from infancy, and is shown to be a confident, independent, and mature child. She is taller than her grandfather, who has been reverted to a child. She is also shown to be fearless in the face of danger, though she still displays typical behaviour for her age, such as crying after losing a game.
In terms of appearance, Pan has a short hairstyle that resembles her mother's when she is a child. She has pale skin and black eyes, which she inherits from her father. As a teenager, her hairstyle is similar to her grandmother's, Chi-Chi, with shoulder-length black hair. She wears a red crop top, orange bandana, grey capris, and dark grey boots. She also wears fingerless gloves, similar to her mother, and a blue school bag. One of her most prized possessions is her grandfather Goku's Turtle School uniform, given to her as a child.
In the Dragon Ball Super manga, Pan is born in May of Age 779, in the months following the fight with Beerus. In the Super Hero Saga, she is a three-and-a-half-year-old kindergarten student. However, there is some discrepancy regarding her age in Dragon Ball GT. In the original Japanese version of the show, GT takes place five years after the events of Dragon Ball Z, making Pan nine or ten years old at the beginning of the series. In the anime Dragon Ball Z, Pan is introduced as a baby in the final scenes of the show. However, in the English dub of GT, the show is said to take place ten years after Z, which would make Pan 13 or 14 years old, depending on the source. This discrepancy is due to inconsistencies in the various guides and dubs of the show.
Overall, Pan's character and appearance evolve throughout the Dragon Ball series, reflecting her age and maturity level at different stages of her life.
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![Peter Pan [Blu-ray]](https://m.media-amazon.com/images/I/719B5kqzFzL._AC_UY218_.jpg)
The role of the labyrinth
The 2006 film Pan's Labyrinth (Spanish: El laberinto del fauno) is a dark fantasy drama that follows a young Spanish girl, Ofelia, as she comes of age in the aftermath of a war. The narrative intertwines the real world with a mythical world centred on an overgrown, abandoned labyrinth and a mysterious faun with whom Ofelia interacts.
The labyrinth in the film is a symbol of life and virtue, full of twisted and confusing decisions. The entrance to the labyrinth is crowned with an eyeless statue with an open mouth. The labyrinth serves as a gateway between the real world and the magical underworld, where Princess Moanna, Ofelia's supposed former self, rules.
Ofelia is led into the labyrinth by fairies, where she meets the faun. The faun believes her to be Princess Moanna and gives her three tasks to complete before the full moon to ensure that her "essence is intact". The labyrinth is where Ofelia completes her tasks, such as retrieving an ornate dagger from the lair of the Pale Man, a child-eating monster.
The labyrinth also serves as a hiding place for the rebels who resist the Francoist regime. Ofelia steals the baby from Vidal after sedating him, and he chases her through the labyrinth while the rebels successfully attack the mill.
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The faun's identity and relationship with Ofelia
In the film Pan's Labyrinth, the faun is a creature that exists in a dreamscape, alongside fairies and the Pale Man. The faun recognises Ofelia as a princess, specifically, the reincarnation of a fairy princess who fled the fairy/underworld and died in the mortal realm. The faun gives Ofelia three tasks to complete to return to the Underworld: retrieve a key, steal a knife, and spill a drop of innocent blood. The faun also gives her magical chalk to draw a door to the Pale Man's banquet hall.
Ofelia is the only one who can see the fairies and the faun. Even when her stepfather sees her talking to the faun, he only sees Ofelia. This ability to see the faun and fairies is attributed to natural affinity or magic.
The faun's relationship with Ofelia is one of guidance and instruction. The faun sets tasks for Ofelia, which she must complete to return to the Underworld. However, when Ofelia disobeys the faun by eating grapes during her second task, the faun abandons her. Despite this, Ofelia's disobedience also leads her to choose the correct cabinet to find the sacred dagger during her second task.
The faun's role in the film can be interpreted as a representation of the fantasy and childishness that Ofelia is told to give up. However, rather than giving up these fantasies, Ofelia learns from them and uses them to act righteously. Ultimately, Ofelia's blood is spilled, and she returns to the Underworld, rejoining her mother and father.
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The film's themes and influences
While the name of the film Pan's Labyrinth refers to the faun-like Greek deity Pan, the director, Guillermo del Toro, has stated that the faun in the film is not Pan. The faun is neither good nor evil, and his morality is intentionally ambiguous to test the protagonist Ofelia's trust and obedience. This emphasizes the theme of choice and gives Ofelia more agency in her decisions to follow or defy instructions.
The film is a parable influenced by fairy tales and addresses themes related to del Toro's 2001 film The Devil's Backbone, which he considers a spiritual predecessor. Fernando Tielve and Íñigo Garcés, who starred in The Devil's Backbone, make cameo appearances in Pan's Labyrinth. The film also draws inspiration from Lewis Carroll's Alice books, Jorge Luis Borges' Ficciones, Arthur Machen's The Great God Pan and The White People, Lord Dunsany's The Blessing of Pan, Algernon Blackwood's Pan's Garden, and Francisco Goya's works.
Del Toro considers the faun to be as ancient as the forest it inhabits, with wooded textures. The filmmaker wanted the creature to be both threatening and comforting, frightening yet beautiful. The faun's backstory is expanded upon in the animated comic panels included in the film's home video release. According to the additional material, the faun was the king of the underworld's most loyal servant, tasked with opening portals to the mortal realm for the return of his royal daughter, Princess Moanna.
The film is set in 1944 Francoist Spain, where people were struggling with food shortages and poverty. The Pale Man, the secondary antagonist of the film, is a vile, hideous, and humanoid monster with pale elastic skin and eyeballs in the palms of his hands. He was banished to the netherworld for his crimes of gluttony and constant hoarding. Over time, he developed a hunger for children and became a symbol of "institutional evil feeding on the helpless", according to del Toro.
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The Pale Man and his lair
In the 2006 Spanish dark fantasy drama film 'Pan's Labyrinth', the Pale Man is a secondary antagonist. Portrayed by Doug Jones, the Pale Man is a pale-skinned humanoid monster with his eyeballs in the palms of his hands, giving him a terrifying appearance. The character is likely a critique of the Catholic Church and the oppressive power regimes of the time. The Pale Man's lair is filled with paintings of him eating live children, indicating his lack of humanity and appetite for children. The banquet laid out on his table serves as a tempting lure for starving children in post-Civil War Spain. The lair seems to have no entrance or exit, adding to the mystery and horror of the Pale Man's character.
The Pale Man's lair is a reflection of his sinister nature and acts as a trap for unsuspecting victims. The paintings and piles of children's clothing and shoes indicate his past atrocities and his preference for eating children. The lair is described as having a luxurious banquet served on a table next to a warm, crackling fireplace. The Pale Man sleeps in a chair at this table, with his eyes on a platter in front of him. When awakened, he places his eyes into the sockets in the palms of his claw-like hands, as seen when Ofelia eats a grape from the banquet.
The imagery of the lair and the Pale Man's appearance hold symbolic significance. The banquet table and the act of eating from it represent the idea of feeding on the helpless, mirroring the oppressive power dynamics of the time. The invisibility of the victims and the lack of an apparent entrance or exit to the lair echo the invisibility of individuals under a fascist regime. The lair's isolation and the Pale Man's ability to leave it unexplained contribute to the horror and intrigue surrounding the character.
The design of the lair and the Pale Man's unique features work together to create a sense of dread and danger. The combination of a tempting feast and a comfortable setting, contrasted with the grotesque appearance and behaviour of the Pale Man, adds to the film's blurring of fantasy and reality. The lair serves as a pivotal location in the film, where Ofelia must retrieve a dagger as part of her quest to prove her worth. The fairies accompanying her attack the Pale Man, allowing her to escape, but not before experiencing the true horror of his lair and the threat he poses.
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Frequently asked questions
Peter Pan's age is never explicitly stated in the original story. However, in the first appearance of the character in J.M. Barrie's 'The Little White Bird' (1902), Peter is a seven-day-old baby.
Walt Disney claimed that Peter Pan is 12 years old.
Yes, some people theorise that Peter is physically the same age he was when he ran away, so seven days old. Others suggest he could be hundreds or even thousands of years old.
Barrie's brother, David, died before his 14th birthday. Their mother and brother thought of him as forever a boy, and this may have inspired Barrie to create a character who never grows old.
Peter Pan is described as "eternally young" and "never-growing-up" in the 1953 film. However, the actor who voices him, Bobby Driscoll, was criticised by Disney for having "too masculine, too old" features.
