Succumb to your deepest…darkest…desire…
Cable & Deadpool #20 by Fabian Nicieza, art by Patrick Zircher
Christmas with Emma, Scott, and Kevin
This is simply the best essay I have ever read about alcohol, sexual assault and all the attendant cultural myths about rape. And it was written by Film Critic Hulk. Professional gender and sexuality experts, hang your heads and cry. Apropos of the conversations we have been having about sexual entitlement and harassment in the comics industry. It’s a long read and IT’S ALL IN CAPS, but it’s worth every bit of your time.
Axel Alonso, Axel-in-Charge (x)
I am also thrilled Marvel is adding more female-fronted books to its line-up, but I’m going to go a bit further and give them credit for it. I don’t believe these books “just sort of happened”— I think creative teams pitched stories and editors approved, and looked for, and found stories about women, and decided to publish them. Marvel made them happen, is what I’m saying. I want to thank them for that.
There’s this curious way of branding, where diversity is concerned, that it must happen organically, not “forced”, that we must wait for stories about the rest of us to materialize from thin air, fully formed and artistically pure, free from any agenda. I understand the marketing logic that insists stories are stories first, about women second, or coincidentally. I understand because people are afraid of agendas. But no story really happens by coincidence. Hawkeye is a big hit, and it came about because editorial saw an opportunity for a real Hawkeye moment in the summer of 2012, and because they worked to find a great pitch for it, and because the creative team worked to tell a great story. It didn’t just happen, any more than the period not so long ago when Marvel wasn’t publishing any ongoing female leads just happened. And I wonder why there’s still this idea floating around that good stories about women must happen by coincidence and not be worked for, when we’re straight-up honest that the big honchos gather in a smokey retreat room to plan the Major Events the storytelling in the MU revolves around. That these narratives are crafted, made.
(Marvel made them happen, is what I’m saying. I want to thank them for that.)
comic recommendations - x-23 vol. 3 (marvel comics)
Hark A Vagrant - Kate Beaton
I’ve gotten several asks about this, hahah, and that was more time than I planned on devoting to the story. (Which I whined about when the solicits advertised it as the “sexiest team up ever” because we all know I’m a something of a sexy connoisseur.)
But I guess to explain my thoughts here I’ve got to explain Howard Chaykin. Because he’s not new. Chaykin’s schtick when he came to prominence in the eighties was this combination of sexiness and hyperviolence and cheeky humor, back when all this was some degree of new and fresh. He used, in the old days, a technique with illustration boards which allowed him to add a unique and deeper texture to his art. I think the new digital coloring has sort of bled that out of him. And there’s another element to his oeuvre that Matt Fraction covers here with some profanity: a sort of contempt for comics and contempt for fans.
The last time A+X did a lady team-up I wrote about Drooling Guy, a stock figure who seems to show up when there are superheroines about, basically to remind us that they are hot. (I mean it says something that he’s made appearances in this Emma Frost story and the team-up with Rogue, but not in the Natasha + Fantomex issue.) Drooling Guy is also a joke comics play on their readers, because he represents them filled into cartoon contortions. Remember: the comic book fan is a basement-dwelling white guy and I have a lot of 80s teen flicks to tell me so. We’re all fanboys here. Remember the solicit text for this issue: we were promised sexy. And that’s why you bought this, right?
When I saw this I couldn’t help but think of noted Emma Frost cosplayer Brian Michael Bendis, but then I realized, no, too much hair.
I guess what this is saying is that this story plays all the cards in Chaykin’s deck. I had braced myself for this, and honestly, I’d expected worse.
Not that this makes any of this good. I mean, Natasha starts this issue off by saying “duh” and Emma talks about Natasha’s legendary discretion as she attends a nightclub in her supersuit. The gross-out finale, the cosplay torture, the sex tapey premise, all of that, though, says way more about Howard Chaykin than it does about his fictional woman protagonists, here. Which is wonderful for me, because it makes this incident that much easier for me to ignore. It’s out of their character but very much in his.
The thing about Drooling Guy strawmans is, well, they function as an in-story reminder of the male gaze, but by humiliating Drooling Guy the heroines never free themselves from what he represents. Chaykin is still drawing girls with big butts and big boobs positioned so that we’re sure to be looking at them, so rewiring this unreal guy’s brain so that he vomits at the sight of breasts isn’t particularly empowering, or funny, or clever or interesting. It’s just kind of gross! The truth is, as a woman who likes to read women in superhero comics, I’m just not that interested in cameos by pathetic dudes!
Or exceedingly gross ways to punish them that still involve ultra-powerful, calm and collected lady characters flashing boob. I mean, it’s really disappointing, isn’t it. You have two very powerful and very complicated teaming up for the first time, and the most interesting thing this issue can think up is a sex tape and a sight-gag of a fat guy wearing Emma’s old outfit. Two of Marvel’s most cerebral characters, and the issue is overwhelmingly about bodies. Bodies and pathetic men.
Wait wait I lied, I do care about pathetic men: the silver lining here is Chaykin’s modern day finishes are something less than wank worthy, and I actually found a dude on the internet VERY ANGRY because this issue wasn’t sexy enough. He was making all kinds of frustrated emoticons about the art not being pin-up appropriate. Reader, I laughed. And that’s been my favorite appearance of Drooling Guy, may comics ever disappoint him.
Jubilee by beanclam
ladies, this is how it’s done. like a boss.
This has been my Facebook “cover photo” for years, and I can’t see it ever changing. It’s possibly the greatest two sequential comic book panels ever committed to print.
Sub-Mariner #54 (“The Mer-Mutants!” - Marvel Comics - October 1972)
Writer: Mike Friedrich
Illustrator: Alan Weiss
Found this really interesting article via Huffington Post. Just going to copy paste some of it and bold some key points. A great resource, and lots of food for thought about representation in children’s media and how this intersects feminism etc. I mean seriously this article covers so much.
Do you know what percentage of children’s books feature boys? Twice as many as those that feature girl protagonists. In the most comprehensive study of children’s literature during a period of 100 years, researchers from the University of Florida found that:
- 57% of children’s books published each year have male protagonists, versus 31% female.
- As with television and film, books with animated characters are a particularly subtle and insidious way to marginalize based on sex, gender and race. In popular children’s books featuring animated animals, 100% of them have male characters, but only 33% have female characters.
- The average number of books featuring male characters in the title of the book is 36.5% versus 17.5% for female characters.
It’s not just the quantity, but the quality as well. Female characters in books that are for “everyone” are often marginalized, stereotyped or one-dimensional. Especially in traditional favorites that are commonly highlighted in schools and libraries. For example, Peter Pan's Wendy is a stick-in-the-mud mother figure and Tiger Lily is a jealous exotic. Or, take Kanga, from Winnie the Pooh. There is nothing wrong with these books per se; they are wonderful stories, and they reflect a reality of their times, but continuing to give them preference — out of habit, tradition, nostalgia — in light of newer, more relevant and equitable stories is really not doing anyone any favors.
There are so many exceptionally good books with strong female characters, but not nearly enough, and boys are not encouraged to immerse themselves in them. How many people would never consider buying Anne of Green Gables or Island of the Blue Dolphins for their 10-year old boy, but don’t pause before giving a daughter Treasure Island or Enders Game? Books featuring girls are, for the most part, understood to be books for girls. Which is interesting as well because, in addition to there not being enough, books featuring girls as protagonists are disproportionately among the most frequently banned children’s books. In a recent Buzzfeed list of 15 commonly banned books for kids, almost half were about girls. Girls who do things apparently scare a lot of people.
Researchers of the study above concluded, “The gender inequalities we found may be particularly powerful because they are reinforced by patterns of male-dominated characters in many other aspects of children’s media, including cartoons, G-rated films, video games and even coloring books.”
This is true of racial and ethnic diversity as well. The Cooperative Children’s Book Center at the University of Wisconsin-Madison School of Education has conducted a survey of children’s and young adult books published each year since 1985. Of an estimated 5,000 books released in 2012, only 3.3% featured African-Americans; 2.1% featured Asian-Americans or Pacific Islanders; 1.5% featured Latinos; and only 0.6% featured Native Americans. God forbid you have the audacity to be a girl of color and expect to see yourself as cherished by our culture.
The same statistics are reflected in television programming. In that medium, a 2012 study from the University of Indiana found that, with the exception of young, white boys, children’s self-esteem drops the more they watch.
A girl’s imagination and literary life would be a stark and barren place if she didn’t learn early on to read books about boys, put herself in boys’ shoes and enjoy them. As with other aspects of socially sanctioned behavior, children’s ability to cross-gender empathize is a one-way street — girls have to do it and boys learn not to. People are married to enduring ideas about “otherness” when it comes to masculinity and a big part of being a “real boy” is disdaining stories, books, movies, and games — really just about anything in some families — about girls.
What was that? “Feminists out to destroy boys blah blah blah blah…” That is nothing but an excuse for a crippling lack of imagination or understanding of the infinite malleability of human culture. Researcher Isabelle Cherney found that half of boys ages 5-13 picked “girl” and “boy” toys equally… unless they were being watched. They were especially concerned about what their fathers would think of them if they saw them. Over time, boys’ interests in toys and media become more rigidly masculinized, whereas girls’ stay relatively open-ended and flexible. Think of the implications of storytelling on that pattern and what it means for social skills development, adaptability, work-life issues and more.
Neither the studies above, nor frank discussion about their findings, demonizes young white boys, a common retort to pointing out, with blunt language, media inequities and their harmful effects. Boys aren’t responsible for the perpetuation of media injustices or their effects. The problem is not boys, but cultural habits that disproportionately favor them.
Media that distorts reality in these ways, and creates imbalanced pictures and ideas, hurts everyone. As children grow up, girls’ media marginalization becomes more acute and racialized. We seem incapable and unwilling to deeply consider the societal effects of dysfunctional, stereotype-plagued media. Without fail, when I talk or write about this and focus on girls, the first response I get is “What about the boy crisis?” It’s remarkable. So, what about the boys who are over-represented in media as valued and worthy, albeit, too often, hyper-masculinized? I think that while benefits can accrue to them as a class, by imparting a sense of confidence and entitlement, the effects on individual boys can be awful.
Boys who grow up seeing themselves everywhere as powerful and central just by virtue of being boys, often white, are critically impaired in many ways. It’s a rude shock to many when things don’t turn out the way they were told they should. It seems reasonable to suggest media misrepresentations like these contribute, in boys, to a heightened inability to empathize with others, a greater propensity to peg ambition to intrinsic qualities instead of effort and a failure to understand why rules apply or why accountability is a thing. It should mean something to parents that the teenagers with the highest likelihood of sexually assaulting a peer and feel no responsibility for their actions are young white boys from higher-income families. The real boy crisis we should be talking about is entitlement and outdated notions of masculinity, both of which are persistently responsible for leaving boys confused and unprepared for contemporary adulthood.
People are quick to provide anecdotal evidence that contradicts the findings in these studies on children’s literature and other media, but there really is no getting around the fact that year after year, media corporations, overwhelmingly still led by white guys, have had no real vested interest in making connections between media justice and social justice. Besides, people get what they pay for.
I am not suggesting that writers, teachers and parents create and share these media while thoughtfully planning to perpetuate discriminatory ideas. No one sits down and says, “Hey, what a great way to teach sexist and racist norms to a class full of kids!” I’m just saying that, like so many other aspects of culture, male and white in children’s books is considered standard and magically inclusive. Shifting our norms to prepare kids to live happily in a diverse, pluralistic society requires that we stop accepting defaults and seek out alternative media narratives. Seriously, go take a look at your kids media diet from this perspective.
This doesn’t mean that parents and libraries create “boy” and “girl” book lists by the way, an approach that exacerbates rather than eliminates the problem of difference. Resources like “Great Books for Girls" are terrific, but they should be for everyone, without shame or revulsion. If you disagree, just change your son’s name to "David Gilmore" and call it a day.
Racebending advocates for media equality across a broad spectrum of platforms and is a great resource. The CCBC publishes a helpful guide to multicultural lit for children. The Geena Davis Institute on Gender and Media regularly shares information about media equality and First Book, a nonprofit that works to get books featuring diverse casts and cultures into the hands of children from low income families, recently launched its "Stories for All" program, which is worth wholesale emulation. Common Sense Media also has a K-9 parents and educator toolkit that helps children understand the media they are consuming.
If you are interested in what this all looks like when children grow up in a world where we haven’t nipped it in the bud Women, Action and the Media, Women and Hollywood, and Anita Saarkeesian’s Feminist Frequency critiques of gaming and film are all good places to start.
We are a storytelling species, and symbolic representation and visibility are crucially important to the way we structure society. Exposing children to diversity in media encourages them to learn about people who are “different” and to understand why that difference isn’t the foundation of hierarchy, but community. That’s an issue that exceeds books for children, to be sure, but stories, especially books while we still have them, are a great way to start. In the meantime, over in Sweden, they’re now rating movies based on a gender-bias test.
As an end-cap to the discussion today on animated films for children, as in WHY IT MATTERS, I offer this reblog of a spectacular article by Soraya Chemaly.
Something that’s “just fiction” can make a huge impact.