When IA, the vocaloid, kabuki's Heron maiden, the girl robot/humanoid of Ghost in the Shell, Kusanagi Motoko, or Hirata Oriza's Sayonara, (Ghost in the Shell I), or JPOP's girl-idol Kyari Pamu Pamu tilts her head, drops her gaze, and turns her face away, the audience knows: the girl is at a loss, longing for something out of reach. This is the shôjo or girl gesture of abjection. In Japanese traditional and popular culture, shôjo is a capacious, complex, and provocative idea of girl, which refers to a culture that goes beyond the simple category of young female to the ever-expanding screen, performance, and commodity shôjo worlds. Shôjo gestures form a network of meaning and affect across bodies, screens, and machines. The stylization and repetition of these gestures across bodies-in-media creates an arena of proscribed behavior or "networked gesture," which indicates that there is a controlling mechanism, which censors gestures and feelings outside this girl-grid. The "vocaloid" IA, a 3D "animated" and "motion captured" digital character is calculated, programmed, and mediatized. I examine the assimilation, re-production and exploitation of shôjo gestures in IA's development, youtube presence, and pirating in order to question the powerful networked grid of programmed digital manipulations, which amplify a narrow set of shôjo characteristics and consequently censor the radical agency of kawaii shôjo characters/entities. How does shôjo stylization reveal state/social control? Can the shôjo subvert her networked gestures? I question digital technology's control of corporeal communication, whether a body is live, projected, or built.