Portrayal of women in comics

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Women have been portrayed in in comic books since the medium's beginning, with their portrayals often the subject of controversy. Sociologists with an interest in gender roles and stereotyping have outlined the role of women as both supporting characters and as potential leaders struggling to be accepted as equals. Another point of study has been the depiction of women in comics, in which, as in other forms of popular culture, body types are unrealistically portrayed.

Contents 1 Golden Age of comic books 1.1 Superheroes 1.2 Costumed crimefighters 1.3 The Spirit and femme fatales 2 The Silver Age of Comic Books 2.1 DC Comics 2.1.1 The Women of Batman 2.1.2 Green Lantern and Carol Ferris 2.1.3 Rita Farr and the Doom Patrol 2.2 Marvel Comics 2.2.1 Invisible Girl 2.2.2 X-Men 2.2.3 Thor and Jane Foster 2.2.4 Women of Spider-Man 3 The Bronze Age of Comic Books 3.1 Marvel Comics 3.1.1 Invisible Woman 3.1.2 Jean Grey 3.1.3 Leadership 3.1.4 Steve Gerber 4 The Modern Age of Comic Books 4.1 Bad Girl Trend 4.1.1 Marvel and DC 4.2 Body Image 4.2.1 Satire 4.3 Gen¹³ 4.3.1 Rainmaker 5 Evolving themes 5.1 Lesbian relationships 5.2 Single parenting 6 Women as victims 7 See also 8 Footnotes 9 References

[edit] Golden Age of comic books

There was a time when more girls read comics than boys^[1] One of the first books geared to these readers was Archie Comics, starring a group of all-American teens — Archie Andrews, Jughead Jones, and Veronica Lodge — who had debuted in Pep Comics #22.

During the 1930s-1940s period that fans and historians call the Golden Age of comic books, a time during which the medium evolved from comic strips, women who were not superheroes were primarily portrayed three ways: as career girls, romance-story heroines, or perky teenagers.^[2]

Career-oriented girls included such characters as Nellie the Nurse, Tessie the Typist, and Millie the Model, each of whom appeared in comic books geared toward female readers using the types of jobs that non-wartime woman of the era typically worked: nurse, secretary, and actress/model. Teachers were also sometimes portrayed.

The second role was evident in the very popular romance genre, pioneered by Joe Simon and Jack Kirby. A woman in those stories could be the good girl or the bad girl. A good girl gets her heart broken while the bad girl breaks all the boys’ hearts. A good girl could also be happily married while a bad girl who tries to be good but can’t give up her wild side and goes back to being bad.

The third role was as a perky teenager. This is embodied by characters such as those in titles such as Betty and Veronica. The lead characters were both boy crazed and completely fun loving teenagers. Betty and Veronica spent all their time fighting over who would get to date Archie. Josie and her band, the Pussycats, always managed to find their way into some sort of adventure but emerged unscathed.^[3]

[edit] Superheroes

See also: List of superheroines

The first known female superhero is writer-artist Fletcher Hanks's minor character Fantomah,^[4] an ageless, ancient Egyptian woman in the modern day who could transform into a skull-faced creature with superpowers to fight evil; she debuted in Fiction House's Jungle Comics #2 (Feb. 1940), credited to the pseudonymous "Barclay Flagg".

Another seminal superheroine is Invisible Scarlet O'Neil, a non-costumed character who fought crime and wartime saboteurs using the superpower of invisibility; she debuted in the eponymous syndicated newspaper comic strip by Russell Stamm on June 3, 1940. A superpowered female antihero, the Black Widow — a costumed emissary of Satan who killed evildoers in order to send them to Hell — debuted in Mystic Comics #4 (Aug. 1940), from Timely Comics, the 1940s predecessor of Marvel Comics. The superpowered Nelvana of the Northern Lights debuted in Canadian publisher Hillborough Studio's Triumph-Adventure Comics #1 (Aug. 1941).

The first widely recognizable female superhero is Wonder Woman, from All-American Publications, one of three companies that would merge to form DC Comics. Co-created by psychologist William Moulton Marston and his wife Elizabeth, she debuted in All Star Comics #8 (Jan. 1942). William Moulton Marston, was hired as an advisor for All-American's publisher, Max Gaines, who had read a Marston magazine article on comic books.^[5] Marston, who wrote under the pen name Charles Moulton, told Gaines he would create a positive role model for girls, in the form of a female superhero:

“

America's woman of tomorrow should be made the hero of a new type of comic strip. By this, I mean a character with all the allure of an attractive woman, but with the strength also of a powerful man. There isn't enough love in the male organism to run this planet peacefully. What women presently lacks is the dominance or self-assertive power to put over and enforce her love diaries. I have given Wonder Woman this dominant force, but kept her loving. It is my hope to make this strip as appealing to adults as it has proved to kids.[6]

”

Some of Marston Moulton's early stories included Wonder Woman as president of the United States^[7] and as a modern-day Incan Sun God,^[8] both non-traditional roles for women. Despite such portrayals of women in leadership roles, however, editor Sheldon Mayer was disturbed by the recurring bondage imagery.^[9] One issue dealt with Wonder Woman losing control because her bracelets had broken; she was driven mad because the bracelets represented restraint, and stated "power without self-control tears a girl to pieces".^[10]

As superheroes began to fade out of fashion in the post-World War II era, comic book publishers scrambled to explore new types of stories, characters, and audiences. In an attempt to appeal to young female readers, comics companies began introducing some of the first significant superheroines since Wonder Woman. These new female leads would include Timely's Blonde Phantom, Golden Girl, Miss America, Namora, Sun Girl, and Venus; Fox Comics' revival of Quality Comics' Phantom Lady; and DC's Black Canary.

[edit] Costumed crimefighters

Like Batman, the Phantom and other non-superpowered heroes, female costumed crimefighters were among the early comics characters. The Woman in Red,^[11] introduced in Standard Comics' Thrilling Comics #2 (March 1940), was a police officer with a dual identity. Lady Luck, debuted in the Sunday-newspaper comic-book insert The Spirit Section on June 2, 1940. The tough-fighting Miss Fury,^[12] debuted in the eponymous comic strip by female cartoonist Tarpé Mills on April 6, 1941, and the equally formidable Phantom Lady was introduced in Quality Comics Police Comics #1 (Aug. 1941). Harvey Comics had the motorcycle-riding Black Cat,^[13] introduced in Pocket Comics #1 (also Aug. 1941).

One publisher in particular, Fiction House, featured several progressive heroines such as the jungle queen Sheena. As Trina Robbins, in The Great Women Superheroes (Kitchen Sink Press, 1996, ISBN 0-87816-481-2), wrote:

“

[M]ost of [Fiction House's] pulp-style action stories either starred or featured strong, beautiful, competent heroines. They were war nurses, aviatrixes, girl detectives, counterspies, and animal skin-clad jungle queens, and they were in command. Guns blazing, daggers unsheathed, sword in hand, they leaped across the pages, ready to take on any villain. And they did not need rescuing.

”

[edit] The Spirit and femme fatales

During World War II, women assumed jobs formerly occupied by men, becoming truck drivers, stevedores, and welders. Many women refused to give up their newfound freedom, creating a massive crisis in formerly naturalized definitions of masculinity and feminity.

The femme fatale (prevalent in The Spirit comic book) exemplified this crisis-a strong, sexually aggressive woman who refused to stay in her traditional "proper" place.^[14]

In the Spirit's many adventures, the femme fatale was a character that sought revenge usually through blackmail or exploitation. One such adventure includes Broadway Lily, who attempts to exploit political tensions between the Spirit's confidant, Commissioner Dolan, and the Mayor. A doctored photograph of Dolan and Broadway Lily is given to the Mayor with the intention of forcing Dolan to resign. The Spirit discovers that Broadway Lily was bitter that the Commissioner arrested her lover, Foxy Dan, and wanted to exact revenge.^[15] When women turn away from feminine wiles to commit violent crime, however, the Spirit finds himself shocked:

Spirit

"Women in organized crime! Doing what hardened men generally do – I’m amazed."

Crook

"Didn’t you ever hear of the manpower shortage, handsome?"^[16]

[edit] The Silver Age of Comic Books

Between 1961 and 1963, one of the top two comic book genres was romance comics. Many influences from this genre overlapped in the comics of the era. Although the superheroes would eventually take over, DC Comics’ Young Romance would end its thirty-year run in 1977.^[17]

During this time frame, the comics of the silver age published by Marvel and DC were different enough that if you liked one, you were liable not to like the other. If you wanted the classic feel of the original 1940’s superheroes, you were a DC partisan. If you wanted fast action mixed with the emotional angst reflecting a world where social unrest was slowly coming to a boil, you were more likely to read the Marvel offerings^[18]

[edit] DC Comics

After the implementation of the Comics Code, DC Comics implemented its own in-house Editorial Policy Code regarding the portrayal of women. As an example, here is what stated about sex in DC Comic Books:

“The inclusion of females in stories is specifically discouraged. Women, when used in plot structure, should be secondary in importance, and should be drawn realistically, without exaggeration of feminine physical qualities. ”

^[19]

Every major super hero of DC's silver age did have a female who had some type of communication with the heroes alter ego. Lois Lane worked at the Daily Planet with Superman's alter ego, Clark Kent. Carol Ferris was the boss of Green Lantern's alter ego, Hal Jordan. Iris West was the on-again, off-again girlfriend of the Flash's alter ego, Barry Allen.

[edit] The Women of Batman

In the 1950’s, Batman’s supporting cast would expand. This expansion would parallel the expansion of Superman’s growing supporting cast. Although the decade would see the Bat-Mite, Ace, the Bat-Hound and the Bat-Ape join Batman’s family, two female characters would enter the fold. Vicki Vale, Batman’s version of Lois Lane, and the Batwoman would make their debuts in the 1950’s.

The Batwoman aka Kathy Kane, heiress, explodes onto the scene in 1956, and the first response she gets from a testerone filled bad guy is “Ha-ha! What can she do?”^[20] With a tip of her cowl to Harvey Comics character, “The Black Cat”, who preceeded her by 15 years as a superheroine on a motorcycle, Batwoman had weapons as well.^[21] The weapons she had were powder puffs, charm bracelets, perfume, a hair net, a compact mirror, and a shoulder bag utility case with matching bolo strap. Batwoman’s debut in Detective Comics 233 would also feature more examples of what feminists would call sexist.

• Crook: There’s only two of them. The girl doesn’t count.^[22] Robin: A girl saving you? It’s ridiculous! Batman: This is no place for a girl. Batwoman: How could any woman ever equal the great Batman?

In 1964, editor Julius Schwartz introduced a modernized Batman to fans. This “new-look” Batman not only had a revamped Batcave, a souped-up Batmobile, and new Bat-gadgets, but a new love interest would enter Batman’s life. Policewoman Patricia (Pat) Powell would start to appear in the monthly Batman comic book.^[23] At the Annual Graduation Exercises of Gotham City’s Police Academy, Batman is scheduled to present an award to the trainee who ranked first in Academics, Physical, Firearms, and Overall. The winner, much to Batman’s surprise, is the daughter of Detective Mike “Bulldog” Powell, Patricia.^[24] Batman is shocked that such an award is going to a policewoman. He is even more shocked when Patricia shares a secret with him.

“But I’m concerned about something, Batman - - something that might interfere with my work! You see - - I’ve got a crush on a man, and I have unexpected lapses where I can think of nothing but him!” Batman: “Lucky man! Who is he?” Patricia: “Bruce Wayne!”^[25]

While working on her first case with Batman, Patricia gets distracted. She sees a tobacco package with the initials BW. She gets distracted and starts to dream of Bruce Wayne.^[26] Like many other female characters of DC’s early years, she does not know that the man she loves is the secret identity of a famous superhero. Eventually, she meets Bruce Wayne at a charity function at his estate.^[27]

[edit] Green Lantern and Carol Ferris

Of all the women of DC's Siver Age, Green Lantern's Carol Ferris was very different. She was Hal Jordan's boss, a concept very unique for the era. Despite his best efforts to date her, Carol firmly rejects his advances and adapts a business-first mentality.

Carol Ferris

"You heard what dad said. I've got to satisfy his faith in me--and that means that during the next two years, I'll have absolutely no time for romance! I'm your boss Hal Jordan and that's orders."^[28]

She also assumed the role of a super-heroine. Women from the Planet Zamaron (in their language meaning Land of Lovely Women) notice that Carol Ferris bears the resemblance of their fallen Queen.^[29] The Zamaronians give Carol the identity of Star Sapphire and convince her to fight Green Lantern.

Despite this new identity, the influence of the romance genre carries over into the battles of Star Sapphire and Green Lantern. A strategy is devised in which Star Sapphire will weaken Green Lantern to such an extent that she will propose marriage to him.^[30]

While recharging the ring, Star Sapphire unmasks Green Lantern, and he promises to marry her. With his power ring, Green Lantern reads her mind and discovers that she is truly Carol Ferris. He decides to erase her memory of what occurred so that he can put off marriage but his view runs similar to many themes of the romance era.

Green Lantern

"Whether Green Lantern marries Star Sapphire or Hal Jordan marries Carol Ferris--it's all the same. She and I will be husband and wife some day."^[31]

[edit] Rita Farr and the Doom Patrol

DC's Doom Patrol had many similarities to Marvel's X-Men. Its leader was in a wheelchair, its members were seen as outcasts, and there was an attractive female who added an edge of romantic tension. That member of the Doom Patrol was Rita Farr aka Elasti-Girl.

Rather than a Betty and Veronica style romantic influence, Rita Farr was involved with only one man (who would eventually be her husband). Steve Dayton aka Mento was so obsessed with Rita Farr, that he wanted her to leave the Doom Patrol^[32] It was somewhat appropriate that the artist for these adventures was Bruno Premiani, who drew many of the romance comics from the 1950s.

[edit] Marvel Comics

When Atlas Comics became Marvel Comics in 1961, many brand new women superheroes were introduced. The first female superhero from Marvel Comics was the Invisible Girl, aka Susan Storm, charter member of the Fantastic Four.

These superheroes were given a strong supporting role but seemed to be maligned. The Wasp (Janet Van Dyne) was an early example. She would have to endure the tone of the fatherly Giant-Man (Henry Pym), who would ignore her romantic advances. Although these characters would develop and become cornerstones of the Marvel Universe, their early treatment would resemble a struggle to be recognized as equals.

[edit] Invisible Girl

Her early adventures with the team possess the feel of the romance comics of the era. An instant attraction occurs when she meets Prince Namor, the Sub-Mariner.^[33] He immediately asks for her hand in marriage, with the agreement that he will not attack the human race. When she reluctantly agrees, Namor becomes insulted, as he feels that she is sacrificing herself. An attack by the rest of the Fantastic Four, results in Namor fleeing the scene.

Despite this confrontation, the romance element is evident when the Invisible Girl’s brother, the Human Torch, aka Johnny Storm, finds a photograph of the Sub-Mariner on a bookshelf.^[34] Both struggle to get the picture when the Human Torch decides to burn the picture.

After this confrontation, Namor enters the Baxter Building and the Human Torch attempts to attack him. The Invisible Girl stands in front of Namor and tries to protect him from the attack. The romantic tension between the two would come to define the image of the Invisible Woman during Marvel’s early years.

[edit] X-Men

Another example of the romance genre's influence would include Marvel Girl (aka Jean Grey). In the early days of the X-Men, Jean Grey is the object of two members of the X-Men's affection. In issue #25, the Betty and Veronica portrayal plays a role reversal. Cyclops (aka Scott Summers) and Warren Worthington III (aka The Angel) both have feelings for Jean Grey after she goes off to college.

Jean Grey: “During the crisis, Scott seemed so worried about me...almost as if he cared! But now that danger's past, he's cold...aloof! Perhaps I'll never solve the enigma of Scott Summers.”

^[35]

Cyclops: “I must get her out of my mind somehow...even if it means leaving the X-Men, once and for all."

^[36]

Angel: “So...she's taken up..with that would-be headshrinker eh? Well, she's not the only fish in the sea! And from here on in, I start doing a lot more fishing!" Professor X "Please keep your eyes on the road Warren! We want to get home in one piece."

^[37]

[edit] Thor and Jane Foster

When Thor was introduced in Journey Into Mystery, his civilian alter ego was Dr. Don Blake. Don Blake developed a crush on his nurse, Jane Foster (comics). Like the women of the Golden Age, Foster was categorized into the category of a career girl. This crush would create tension between the relationship of Thor, and his father Odin.

Odin

"Again you defy the wishes of Odin! But, I see behind your arrogant words – it is the girl called Jane whom you do not wish to leave."^[38]

Thor

"I cannot deny that she was won my heart, noble father. So unless you give me a direct order to remain here."^[39]

The tension would continue between father and son. Eventually, a decision was made by Odin to turn Jane Foster into an immortal. Stan Lee had introduced another plot twist. Before she could become immortal, Jane Foster would need to pass a test to prove her worthy of being an immortal. Jane Foster had shown fear and in effect, failed her test.^[40]

Odin

"Now rise God of Thunder. In thy heart of hearts, thou knowest godhood was not for one such as she."^[41]

Thor

"Still do I love her my father! Though she be frail, and weak - - have I not strength enough for two."^[42]

The result of Jane Foster being refused for godhood created another Betty and Veronica scenario. In the same issue, Odin would attempt to have Thor forget about Jane Foster by re-introducing him to the goddess Sif.

Thor

"Thou art fair beyond measure - - valiant as only a goddess can be - - and I, lovely Sif, have been blindest of all who dwell into golden realm! Verily, thou hast restored the lust for life to the smoldering soul of an errant Thunder God."^[43]

Sif

"And you, my Lord, have rekindled an emotion I feared had been lost to me forever."^[44]

[edit] Women of Spider-Man

The most noticeable example of women playing a supporting role is the women involved in the life of Marvel’s flagship character – Spider-Man (aka Peter Parker). Spider-Man’s first appearance in Amazing Fantasy # 15 features the most important woman in his life enduring a traumatizing moment. His Aunt May witnesses the murder of her husband, Peter's beloved Uncle Ben. Throughout the rest of the Silver Age of Comic Books, Aunt May would be constantly sick. Spider-Man (as Peter Parker) would work for the Daily Bugle as a way to help ends meet. Parker's going to college would lead to guilt about his Aunt May.

Peter Parker

"You're a great guy Parker. Worrying about getting your own apartment, buying a new cycle, thinking only of number one. - While the woman who's devoted her life to you does without her medicine because she can't afford a new bottle."^[45]

After Aunt May, the next woman in the Spider-Man mythos would be an employee of the Daily Bugle-Betty Brant. She is the receptionist for J. Jonah Jameson, publisher of the Daily Bugle. A big part of Peter Parker’s identity is that he is not liked in school, but Betty respects Peter and sees him as more than just a bookworm.^{[citation needed]} Like all the other women in Spider-Man’s life, Brant's personal tragedy would have an impact on his life. Betty’s tragedy would be that her brother, Bennett Brant was accidentally murdered during a fight with Spider-Man and Doctor Octopus, and she blamed Spider-Man. This event would dramatically alter Peter and Betty’s friendship.^[46]

It would also be in the Silver Age that Peter Parker would meet another important woman in his life – Mary Jane Watson^[47] Mary Jane is the niece of Aunt May’s best friend, Anna Watson. Although her personal relationship with Parker would not develop until the tail end of the Bronze Age of Comic Books, she was part of the Amazing Spider-Man's supporting cast. Her presence would make Gwen Stacy, another woman in his life, jealous. One of the first examples was evident when Peter's friends throw a party for Flash Thompson, who was going to Vietnam. Peter enters the party with Mary Jane and starts to talk to Gwen. This behaviour is also recognized by another partygoer, Betty Brant.

Betty Brant: I wonder which of those two gorgeous girls he's most interested in?

^[48]

The dynamic between Gwen and Mary Jane is reminiscent of the very popular romance genre. One is the good girl while the other is the bad girl. At the party, Gwen and Mary Jane were supposed to give out burgers to the partygoers but try to outdance each other.

Mary Jane: I thought you were passing out the burgers Gwen! Gwen: Don't fret pet! I saved a few for you.

^[49]

[edit] The Bronze Age of Comic Books

[edit] Marvel Comics

[edit] Invisible Woman

The late Bronze Age/early Modern Age represented a change for Susan Storm. She went by the name of Susan Richards (attributed to her marriage to Reed Richards aka Mr. Fantastic) and changed her alias from the Invisible Girl to the Invisible Woman.^[50] Another milestone in her life was that she had given birth to a boy named Franklin.^{[citation needed]} This was an example of how women in comics were changing and taking on roles such as parenthood (roles that had not been seen in previous ages).

[edit] Jean Grey

One of the first women from the history of Marvel would undergo a huge transformation in the Bronze Age of Comics. Jean Grey aka Marvel Girl would not only become romantically involved with Cyclops, but would have to deal with the advances of Wolverine.^[51] The Betty and Veronica situation that occurred with Cyclops and Angel during the Silver Age had now carried on to Cyclops and Wolverine in the Bronze Age. Despite these romantic issues, Jean Grey was transformed into the omnipotent Phoenix.^[52] In an era that represented the Women's Liberation Movement, this transformation reflected the changes of society.

[edit] Leadership

Throughout most of the Silver and Bronze Age, women in comics were not given leadership positions. Men (led by characters such as Mr. Fantastic, Captain America, and Cyclops) chaired teams such as the Avengers, Fantastic Four, and the X-Men. In the Bronze Age and early Modern Age, characters such as Invisible Woman and the Wasp would chair the Fantastic Four and the Avengers, respectively.^{[citation needed]}

The Bronze Age of Comic Books represented a change for the X-Men. The forming of a new group representing various nationalities of the world would mark a turning point in the history of the team. Storm aka Ororo Munroe, would be the first relevant African-American superheroine of the era. One of her defining moments would be eventually succeeding Cyclops as leader of the X-Men during the early years of the Modern Age of Comics.^[53] This was unique because Storm was a visible minority and would join Monica Rambeau, aka the second Captain Marvel (who chaired the Avengers) as minorities in leadership positions.

[edit] Steve Gerber

One of the examples, from the Bronze Age, where women are seen for their strength is in the works of Steve Gerber. The characters of Beverly Switzler in the Howard the Duck title and Jennifer Kale in the Man-Thing title play a very strong supporting role. In the first issue of Howard the Duck, Beverly prevents Howard from committing suicide. The friendship with Beverly is what helps Howard the Duck cope with being on Earth. Jennifer Kale is the only human that has any psychic link with the Man-Thing.^[54]

Despite their strong roles, both are still portrayed as victims and as sex objects. Beverly makes ends meet by posing as a nude model. Her beauty seems to lead her into various problems, as she is kidnapped by Dr. Bong, a character who knew Bev as a teenager and was obsessed with her. His obsession leads him to wanting to marry her. Beverly marries Dr. Bong in exchange for Howard’s life. The result is that Howard the Duck is turned into a human as a punishment for trying to rescue her. In another adventure, Beverly is kidnapped by a shiek who wants to enslaver her, and Howard must try to rescue her once more.^[55]

Jennifer Kale finds trouble in her first appearance in comics. She steals an enchanted book, and accidentally summons demons from another world.^[56] The released demon chases Jennifer to a movie theatre where the Man-Thing comes to her rescue. The Man-Thing and the demon resume their fight in the swamp where Jennifer burns the enchanted book and the demon disappears. Jennifer is apologetic to the Man-Thing for her behaviour.

When Jennifer’s grandfather discovers that she has a psychic link with the Man-Thing, Jennifer is still portrayed as a victim. The two are kidnapped by Dakimh the enchanter and brought to the world Sandt where the Man-Thing must fight Mongu the Gladiator so that both can be freed or else they will die.^[57]

[edit] The Modern Age of Comic Books

Due to the fan–based nature of the comic book industry, many of the readers feel, either directly or indirectly, that they are involved in a social practice.^[58] The attachment to the titles and the characters obtains a life all its own. There is a sense of social contact with the books and the characters themselves.^[59] By adopting these properties, a unique relationship for the reader develops. Due to this relationship, the context in which women are presented in comic books can have various effects.

This portrayal would be put to the test in the Modern Age. While there were many examples of strong, female characters getting their own titles, including Ghost from Dark Horse Comics, Strangers in Paradise from Terry Moore, 9 Chickweed Lane, Birds of Prey and the newly invented Supergirl at DC Comics, it was not uncommon that sex was used to sell comics as well. In the 2000’s, Frank Cho’s Liberty Meadows was a key example of having strong female roles but blending it with skimpy outfits and the occasional nudity.

[edit] Bad Girl Trend

The creation of sexy female characters was very common with independent publishers. The most infamous example of this type was in Team Youngblood #14, from Image Comics, and published in the mid-1990’s. The character Riptide poses nude for a men’s magazine and is dismissed from Team Youngblood. Image Comics continued to set the trend with its very popular Gen¹³, in which many of the characters appeared in bikinis or in skimpy clothing holding guns. Other characters from Image included Voodoo and Witchblade (later part of the Top Cow Imprint).

The decade would continue with other sexually suggestive characters from the independents including Barb Wire (from Dark Horse Comics), Lady Death (from Chaos! Comics), Lady Rawhide (from Topps Comics), Mantra (from Malibu Ultraverse), and Vampirella (from Harris Comics). Even a popular brand like DC Comics’ Vertigo imprint started to capitalize on the trend. Books such as Codename: Knockout and Vamps were published in the 1990’s. By the time the speculator market crashed, most of these “bad girl” comics met their end.

[edit] Marvel and DC

The trend towards sexually suggestive characters was also felt at Marvel Comics. In the early 1990s, characters such as the Invisible Woman (see Fantastic Four # 375) and the Scarlet Witch (see Scarlet Witch #1) started wearing revealing outfits. She-Hulk was also doing a nude jump rope issue in The Sensational She-Hulk #40. It is worth noting that the first truly sexually suggestive character in the Marvel Comics mythos appeared in the Bronze Age of Comic Books in the form of the White Queen. The White Queen appeared in the X-Men during the Dark Phoenix saga and her lingerie-like outfits and sadistic treatment of people bordered on the limits of good taste. At DC Comics, writer William Messner-Loebs and artist Mike Deodato's run on Wonder Woman was known for having the Amazons in skimpy clothing.

[edit] Body Image

During the Modern Age of Comics, an issue that has gained attention in society is body image. Many images of women in popular culture have been accused of altering what people perceive as appropriate body types. The learned body image that develops is deeply tied to gender identity. The range of eating disorders and body image that are developed come from what people believe to be the cultural ideal.^[60] An example of a character with an imperfect body type but still has a fan following is Francine from Strangers in Paradise. Francine has a round face and a small collection of fat underneath the chin, while appearing as slightly overweight. Her stomach is not flat and does not display any discernable muscle tone. She is what Trina Robbins describes as “pleasingly plump” and is very far from the stereotypes of anorexic and exaggerated female forms.^[61]

Another example of body image in comics is in a flashback tale set in Smallville. Set in Clark Kent’s high school days, Clark sees others laughing at an overweight girl that is called “Marge the Barge” because she does not have a date for the homecoming dance. Clark Kent decides to reject Lana Lang’s offer to be his date for the homecoming dance, and asks out Marge the Barge.^[62]

She actually rejects him because she feels he is asking her out due to self-pity. She tells him that after the dance, she will be long gone. Clark interprets this as suicide and is concerned. Upon seeing her standing on the edge of the bridge in town, he screams at her to not jump. After a discussion, Clark finds out the she will be long gone due to early admissions to college.^[63]

After getting to know each other, Clark takes her to homecoming. With some help from Lana Lang, the Homecoming vote is rigged and Clark and Marge become Homecoming King and Queen. Once the event is over, Marge goes home and is hit by a drunk driver on the same bridge where she talked to Clark. The driver was a drunk teenager who was bitter that he was not made Homecoming King. Clark assumed that because she was overweight, that she was suicidal, and once he got to know her, he found that she was a likeable person.^[64]

[edit] Satire

The excess of exaggerated comic-book women has been satirized on occasion within the medium. Writer-artist Jhonen Vasquez featured a tall, blonde, buxom, scantily clad, dumb superheroine in the alternative press comic Squee! #2, with the storyline addressing her ability to stand up straight with an improbably tiny waist and overlarge chest. After a poke to the forehead, she tips over and her superhero career comes to an end as her spine snaps from the weight.

In 2002, writer Steve Gerber's Howard the Duck miniseries for Marvel Comics' mature-reader imprint Marvel MAX approached the topic of scantily clad superheroines, within a larger satirical framework. Issue #2 featured nudity, as Beverly's bare chest was visible in the shower. In issue #3, Howard and his human companion Beverly Switzler run across a woman police officer who has acquired the "Doucheblade", a parody of Image Comics' Witchblade, which transforms the officer into a superheroine whose chest expand and whose clothes disappear.

[edit] Gen¹³

Gen¹³ was subjected to controversy in its early years, as most controversy emerged from J. Scott Campbell’s depiction of the female form.^{[citation needed]} The title often depicted the main character, Caitlin Fairchild, a teenager, scantily clothed. The innuendoes were also part of the covers, as some were known for being risqué. Said covers were as follows:

• Gen¹³ Encore: Featured Fairchild in a French maid's outfit.
• Gen¹³, Volume 2, Issue #1, Alternate Cover: A satire of the Janet Jackson topless Rolling Stone cover, in which Fairchild appears topless with two strategically placed hands.
• Gen¹³, Volume 2, Issue #2: Shows a villain looking through a video monitor at Fairchild in a bikini.
• Gen¹³, Volume 2, Issue #30: Fairchild is in a bikini, while in the background, Grunge drops sunscreen on a topless Grunge, lying on her stomach.
• Gen¹³ Bootleg, Volume 1, Issue #9: The headline on the cover is All-Exploitation Issue
• Gen¹³ Bootleg, Volume 1, Issue #10: Fairchild and Grunge are both nude and tied up and gagged. The Bondage Imagery is prevalent throughout the title.

[edit] Rainmaker

Volume #1, Issue #2 created controversy when the character of Sarah Rainmaker was revealed to be a lesbian, with the following issue's letters pages containing letters protesting that lesbianism was not appropriate for comic books. The gay community did not react positively to the portrayal of Rainmaker as a flighty lesbian when, in the next few issues, she made out with male teammate Burnout while drunk. Further controversy followed when it was made known^{[citation needed]} that a panel showing Rainmaker sharing an open mouth kiss with another woman was replaced with one of a tepid kiss on the forehead. In addition, Native American critics noted^{[citation needed]} that Rainmaker was the latest in a long line of exotic Indian princesses meant to titillate white males with a hint of forbidden sex.

[edit] Evolving themes

In the 21st Century, the roles of many women have changed. Roles and choices such as single parenting, same-sex relationships, and positions of power in the workplace have come to define many women in modern society. These roles have found their way into the comic books of the 21st Century as well. Lesbian relationships were initially featured in underground and in alternative titles, such as Julie Doucet's Dirty Plotte, before entering the mainstream with Image Comics' Gen¹³ and Marvel Comics' Exiles #34 (Nov. 2003).

[edit] Lesbian relationships

Marvel Comics' Exiles is a team of mutants from alternate-reality universes. Each member of the loose-knit group is attempting to find his or her way back home by repairing "broken chains of time". One of the characters an alternate version of Mariko Yashida, known in her universe as the superpowered mutant Sunfire. She and her teammate Noctunre end up on a version of Earth where most of the characters are plagued by the Legacy Virus.^[65] In this alternate Earth, Mary Jane Watson has Spider-Man's powers and abilities. The two characters are romantically linked and kiss each other. While Nocturne speaks with the alternate-Earth version of Hank McCoy, Watson and Yashida are seen sharing a bed in a post-coital scene, with Watson saying she'd always known Yashida was gay.

[edit] Single parenting

Single Parenthood starts to become a prevalent issue in this age with both Marvel and DC. Jessica Jones, the wife of Luke Cage, aka Power Man, leaves the United States with their baby, out of fear for the events of the Civil War.^[66] Jones goes to Toronto with her child, while Luke Cage fights with Captain America’s “Secret Avengers”, in opposition to the Superhero Registration Act. DC’s Birds of Prey series also tackles the issue of single parenting. The Black Canary gives up being a hero to take care of her newly adopted daughter. “It’s more important for me to be faithful to you, and that means getting you away from all the costumes and crazies. See, the mistake mom was afraid I’d repeat was that I wouldn’t spend enough time with my own kid.”^[67]

[edit] Women as victims

Another impact on the role of women is their role as victims. The death of Mockingbird in Avengers West Coast #100, and the distraught condition of the Invisible Woman after the death of Mr. Fantastic in Fantastic Four #381 reinforce the perceived misogynist trend in comics called Women in Refrigerators, a term coined by Gail Simone. The term refers to an incident in a Green Lantern comic book in which title hero comes home to his apartment to find that his girlfriend, Alex DeWitt, had been killed by the villain Major Force and stuffed in a refrigerator.^[68]

In theory,^{[citation needed]} female characters are made to suffer more than their male counterparts. Women close to heroes suffer in order to increase dramatic tension for the heroes themselves, and more often than their male characters are not allowed to return to their former status quo — a trend John Bartol called "Dead Men Defrosting", giving the example of both Batman and Batgirl suffering similarly severe spinal injuries, with the former eventually recovering and the latter remaining in a wheelchair.^[69]

[edit] See also

• William Marston
• Good girl art
• Bad girl art
• Woman in Refrigerator syndrome
• 9 Chickweed Lane
• Silver Age of Comic Books
• Bronze Age of Comic Books
• Modern Age of Comic Books

[edit] Footnotes

[edit] References

• Walker, Douglas J. (EDT) Cognitive Technology: essays on the transformation of thought and society, 2004, McFarland and Company, ISBN 0786419741