List of Once Upon a Time characters - Wikipedia


Type:
Element: /
Frequency:
Diet: Human foods
Role: Ranged and Close Support, Ambush, Crowd Control
Libido: High (but drops to low if wild or traded)
Strong Vs: Dragon, Electric, Fire, Plant, Bug, Plant, Steel
Weak Vs: Ground, Rock
Attacks: Slash, Fireball, Flame Sniper, Fire Spin, Dragon Rage, Rage, Agility, (Higher levels only) Hyper Beam, Fire Blast
Enhancements: Tough skin, Enhanced endurance (x7), Enhanced speed (x9), Enhanced Agility (x8), Longevity
Evolves: None
Evolves From: (normal)
After winning enough battles, the Pyrona will evolve into a striking new pokegirl, the Flarebra. Upon evolving, she gains anywhere from six inches to a foot in height and her breasts increasing up to a mid C-cup. Her scales change color, losing the long gamut of colors that the Titrona had before, instead she now has scales that are yellow, orange, red or gray, and running from pale to dark in tint. They also grow a pair of horns, about three inches long at the smallest, but no longer than seven inches, and the horns vary from one Flarebra to the next.
Their lithe build from the Pyrona finishes filling out, giving them the same sexy look of a Dragoness, but lacking the wings. Her body is perfectly muscled, and not an extra ounce of flesh. Her body is a teenager’s dream, full hips, shapely legs, and an hourglass shaped figure.
Personality wise, the problems of the Pyrona have lessened, as she is less judgmental than her previous evolutions, and not as likely to point out faults in others. But she has a new quirk. She is vain.
Now, when we say vain, we do not mean that she spends hours making herself look perfect. She naturally does look perfect. What this means is that opponents who use attacks that cover her in mud, or, god help them, actually say they are not perfect, will get a face full of fire elemental attacks, and that is if they are feeling forgiving. However, with a tamer that they are fond of, they are a bit more forgiving to him and their harem sisters, but insults still mean that they are going to give you a burn.
Their attacks branch out, now able to handle a wider range of situations, as well as becoming a bit more capable for melee combat, able to use her speed to balance out her lack of extraordinary strength and staying power. One thing that Flarebras love to do, even more than their previous evolution, is dance. With their natural agility and endurance, they can dance the day away, and most of the night too.
The Flarebra, in contrast to the Pyrona's softer taming habits, seems to prefer hard, fast sessions, with her tamer dominating her and loves being beneath her tamer. The more 'helpless' the tamer has her, the harder and more often she climaxes. She is similar to Randysnatch in that she is ready for her tamer, any time and any where, a marked contrast to her previous evolution.
Threshold resulting in a Flarebra is almost unheard of. It is almost as rare a Threshold result as the Dragoness.

This article's lead section does not adequately summarize key points of its contents

1: Psychoanalytic readings of Victor's dream or of the entire text of include: J. M. Hill, '' and the Physiognomy of Desire''; Gordon D. Hirsch, ''The Monster Was a Lady: on the Psychology of Mary Shelley's ''; Gerhard Joseph, ''Frankenstein's Dream: The Child as Father of the Monster''; Ellen Moers, ; Susan Harris Smith, '': Mary Shelley's Psychic Divisiveness''; Peter Brooks, '' 'Godlike Science / Unhallowed Arts': Language and Monstrosity in ''; Andrew Griffin, ''Fire and Ice in ''; U. C. Knoepflmacher, ''Thoughts on the Aggressions of Daughters''; Barbara Johnson, ''My Monster / My Self''; Margaret Homans, ; William Veeder, Frankenstein;Anne K. Mellor, ''Possessing Nature: The Female in ''; Ronald R. Thomas, ; and David Collings, ''The Monster and the Imaginary Mother: A Lacanian Reading of ''. Almost all of these critical works pay particular attention to Victor's or Mary Shelley's dreams, or both.

2: No previous readings of the dreams have been informed by cultural criticism, but two recent essays employ this method to examine other aspects of : H. L. Malchow's ''Frankenstein's Monster and Images of Race in Nineteenth-Century Britain'' and Lee Heller's '' and the Cultural Uses of the Gothic.'' In addition, Mary Lowe-Evans employs a ''biographical-historicist'' approach in her recent book Frankenstein: .

3: Hartley S. Spatt, for example, calls Victor's dream ''the Gothic center of the novel'' (531). Gerhard Joseph sees a similar importance in the dream, remarking that it ''occurs at the most crucial moment of the work,'' and suggesting that ''It can provide a key to the story's deep structure'' (99-100).

4: In this play, Peake has a comic servant named Fritz report Frankenstein's unsettled sleep to Clerval:


Rory Kinnear | This Old Haunted House

Frankenstein and His Creation (Todd White) How great the deception and seductive powers of Satan

They brought the monster to the castle(Castle Frankenstein II) of their mistress, the Baroness VictoriaFrankenstein, who told the monster that he was very bad, and that hemust serve her.