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Scary Sex Stuff

 
  

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This Sunday
18:28 / 07.11.06
So, as with any narrative field, comics have dealt with, at times, such things as women, men, sex, in just about every way those three things can interact, in ones, twos, and threes or more.

That out of the way, what's begun to interest me, especially in light of the 'Midnighter' thread, is how these things are handled. Particularly, with how sexual violence is handled, and what that connotes.

A man, raped, does not connote homophobia on the part of the creative types who wrote or drew or edited it.

A woman, raped, does not connote homophobia or misogyny on the part of the writers, the artists, or anybody else real and fleshy.

Pollyanna, raped by the Invisible Man, who is in turn, several issues later, raped by Mister Hyde probably connotes something. Issues of Victorian prudery and paranoia, 'the fate worse than...' styled misogyny and 'Oh heavenly Lord protect my sphincter' homophobia, perhaps.

But what of the vast selection of rape stories in contemporary comics that fall neatly (disturbingly so) into two categories:
(1) Torn tights, and
(2) One involved is really, honestly, truly gay?

What's up with that?

Seriously, I have a tendency to be irritated by the fictional use of rape, in general, because it has a mystique built around it that overtakes any other form of violence, and becomes social critique inadvertantly, whether it should or not. It somehow elevates the comic, the story, the whatever... to a level beyond itself and usually, awfully self-important but not significant to anyone or anything else.

Looking back on any time on Barbelith that I mention Alan Moore will present a number of examples of how irritating I find this. And Moore's an alright author, don't get me wrong. I like some of his stuff, but really, 'Watchmen' has never, ever worked for me. The rape in 'Watchmen' even at the time it came out, seemed awfully self-impressed. I just couldn't be bothered.

There are worse examples. Tons. For every crotch-shot death of a woman, for every girlfriend in the fridge, there's another twelve examples waiting to be uncovered by the back-issue reader.

And then there's this warped notion that if one writes a gay man, they need to be raped. If you write a man being raped, either the rapist or the raped needs to be openly or secretly gay. Because.

Remember with Apollo and Midnighter were cool? Apollo moaned like an old woman, sure, and Midnighter was a bit too pretext, sometimes, but they were alright. Now? They're like third-generation faxes of half-developed characters doing bad impersonations of a couple drag queens from the campest movie ever. Sometimes they get to hit people, is about the only difference. Oh, and Midnighter can sexually assault folks with heavy equipment.

Yay, Midnighter! Except, y'know, it's not 'Yay' anything.

My brain keeps dredging up a line from 'Nextwave' about girls having 'soft bits' and men having, y'know, 'hard bits'.

Are anglophone comics all made by Dirk Anger?

Is Nightwing the only guy in comics to be on the torn tights side and not actually gay? Was he raped to make sure he was straight or something?

Is his obsessive psychology in DK2 a statement of homophobia? I really don't think so, just as I don't think Miller is homophobic in any of his work(s), but people are certainly reading it that way.

Is there a strain of the mentality shown in the third issue of 'Flex Mentallo' where it's all hypersex thirdgender wonderyouths with their lithe limbs in tight clothes that practically are just second skins anyway? Or is it like somebody going around compulsively stabbing all those hypersex supertypes through any available orifice until they die, die die and stop making one feel so funny and the tingling dies clean and glorious?

Is it all a reaction of creators grown old, become alone and depressed? Terrified and jealous of the young hot kids running around doing unspeakable things for laughs and cash? Or is it all just fiction and we shouldn't worry ourselves at all?

Why don't the sex jokes in Ennis books bother me, or ever really seem seriously homophobic, misogynistic, or otherwise dangerous in any way? Why doesn't Miller seem homophobic to me, or Millar? But they can all start to feel tiresome from time to time?

Why does modern comics look like an Andrea Dworkin's seventh ring of Hell, sometimes? And other times, it does, and it's kinda worth a laugh, but then somebody pulls out the 'fate worse than death' again, and turns it into a 'very special issue' where your childhood fave is gutted with a multi-bladed deathdildo? And then that gets funny, too. And cringe-inducing. And funny. And cringe-inducing. And...

And then somebody complains about a panty-shot, and Devin Grayson says she wants to see Arsenal take is shirt off more often, before the whole thing threatens to explode and thirty-thousand comics readers run off to a fansite with dirty line art of corporate characters in an endless sequence of weird permutations of dirty dirtiness and good old American cleancut fun. And rape. And torn tights. And... And it's terribly amusing to me that I quite like Gebbie's art 'Lost Girls' but Alan Moore still leaves me wondering sometimes, with his unnervingly Freudian eighties-ness, and his Liefieldian nineties, and y'know, the good stuff he's done.

Any suggestions?
 
 
Hallo, Paper Spaceboy
00:26 / 08.11.06
Why don't the sex jokes in Ennis books bother me, or ever really seem seriously homophobic, misogynistic, or otherwise dangerous in any way? Why doesn't Miller seem homophobic to me, or Millar? But they can all start to feel tiresome from time to time?

Sometimes it feels more like exhaustion; when I take it in I'm almost too tired from all that crap pounding down on me to bother with it - I don't support it and after a certain point it's just this waste of energy to get angry about it. Which freaks me out. I want to be able to - to have the energy to - get angry at all that shit but MOSTLY I JUST DON'T FIND IT FUNNY. They're busy trying to shock me but they just end up wearing me out. I can't really be bothered to buy any of it now, I just check in when I'm in the shop, feel myself glaze over because I can't be bothered.

People can write about from different points of view and attitudes and have different opinions than those expressed, all of that, but assrape jokes don't seem like "a different opinion," they just seem boring and in poor taste. They're stupid; I feel like saying to Ennis or Millar or whoever, "Why are you wasting my time on this?" A piece of art can have a different opinion and I can still recognize the quality in it but most of the time the quality isn't even living up to it.

Maybe all these comics are being written by Dirk Anger.

It's not the sex. I'm actually, I think, more in the mood for the saucy wonderyouths and thirdgender exploratory supersex than what we're getting, though. There was that Authority short story with the Engineer trying to get laid and her problems relating to ordinary humans that went into it quite well, but that was just one small example against so many counter-examples. It's the attitude toward the sex. Sex seems equated with violence and death on such a regular basis that any interesting or genuinely offensive (and therefore open to discussion and examination of attitudes) elements are overwhelmed by a sea of "Meh" and I just can't be bothered because it's boring and/or irritating and I don't want to support that.

And Midnighter & Apollo did used to be cool, however briefly. They were tough. They bickered - like an established couple. I got a little bored with the ultraviolence but that wasn't specific to them. But then things got bad, and they turned into stereotypes before they had a chance to really develop, and Swift started being mind controlled and tied up and abused over and over again, and and and...
 
 
Alex's Grandma
02:18 / 08.11.06
The Griffin/Pollyanna/Mr Hyde connect is interesting. It hadn't occurred to me before - the Pollyanna incident is presented in a fairly end of the pier, light entertainment style, whereas the Mr Hyde episode isn't. I wonder, though I obviously don't know for sure, not being friends with Mr A, or anything, how much thought he put into the scenes in question. But assuming it was a bit, what point was he trying to get across?
 
 
Jared Louderback
04:07 / 08.11.06
Let's not forget about the utter retardedness of Identity Crisis.


"Why is Doctor Light such a loser, he used to be badass, didn't he?"

"Oh, it's 'cause he was a rapist, and they had to give him a lobotomy to... keep him from raping people?"

It seems like a lot of people don't understand the different between making an "adult" comic book and making a trashy, sensationalized, sorta dirty comicbook. I think that it was handled... better, in a more adult way in Watchman, but I can see where you are coming from, there are better shocks and awes and ews that you can grab the audience with. A big part of it has to do with this crazy misconception that we fans want comics to be more "realistic." What the hell does that mean? How realistic is a book about people who have poorly defined super powers and wear goofy costumes going to be? It's apperently not enough that Wonder Woman has to worry about saving the world from... uh...I dunno, egg-fu? (wonderwomen has terrible enemies), she also has to worry about some guy tying her up with her own lasso and brutally sodomizing her.

And what about the apperent anti-gay editorial mandate going on at Marvel right now? I don't read any of those books anymore, but I just read on a comics blog that they'd manage to either kill or capture all the gay sooperheros. What's up with that?

On a side note. I hate metzlger or... however you spell his name, why did DC give him a job?
 
 
Hallo, Paper Spaceboy
04:55 / 08.11.06
Jared: Let's not forget about the utter retardedness of Identity Crisis.

Well, I'd skip the use of "retardedness" - sensitivity with diction is important, and we don't look too kindly on word choice like that on the 'lith.

It's more helpful within this discussion to possibly look at what exactly is being said by DC's attempt to "up the ante" with their villains, and Doctor Light in particular, and how it relates to the overall issue? Sure, the easy answer is that their trying to "grow up" but fail utterly not just because, you know, they invoke the "fate worse than..." misogyny, but also because they marry it to a convoluted plotline with questionable attention to how people's actual feelings work - they take a Silver Age style mystery and bloody it up with the deathdildo, as Daytripper puts it, thinking that's how you grow up.

I'm not sure if that makes any sense.

On a side note. I hate metzlger or... however you spell his name, why did DC give him a job?

They're trying to court out-of-media writers like Meltzer and Kevin Smith (way back, as an example) because of perceived name cache and potential readership connected to their names.

The Marvel Mandate - I'm not sure what it's current status is, but the example I can think of is the Young Avengers and Runaways crossover - a significant grouping of character is taken into "custody" (read: scary bondage & probable torture), all of them either being gay, lesbian, or multi-gendered (Skrull shapeshifter primarily identifying as male but in a lesbian relationship) - however, they're also the most powerful characters in the two groups, so it might be worth unpacking what all of that means.
 
 
Our Lady Has Left the Building
06:03 / 08.11.06
Daytripper And then there's this warped notion that if one writes a gay man, they need to be raped. If you write a man being raped, either the rapist or the raped needs to be openly or secretly gay. Because.

Can you give some examples of this outside of The Authority and it's various spin-offs, because I'm thinking of Top 10, The Invisibles, Enigma, Green Lantern, Starman and The Sandman (and hey, as you didn't specify exactly what you meant by comics I could be mean and chuck in Dykes to Watch Out For but ignore that if you want) which have gay men who don't get raped.
 
 
DavidXBrunt
06:14 / 08.11.06
Wow. This may be the most Barbelith thread in a long time. Well done.
 
 
Evil Scientist
09:00 / 08.11.06
Can you give some examples of this outside of The Authority

And also of it in The Authority. The closest I can recall is Apollo nearly getting raped by the Teuton. I know that some people believe The Captain from the original Jenny Q story also raped him, but arguably that's only one interpretation (and not, in my view, an accurate one).
 
 
ONLY NICE THINGS
09:43 / 08.11.06
The Commander, I think, and it's an entirely accurate reading - if I recall, there is no other way to read the scene, really. However, that may not be so much about the Authority as about Mark Millar, who has been addressing the challenging issues of today through the bottie door since his first published work, "Saviour".
 
 
Spaniel
12:05 / 08.11.06
With reference to Griffin's rape/murder, I think the scene can easily be read as poetic justice (in light of the Pollyanna scene previously), and, given that ease, I strongly suspect Moore intends it be taken that way. It's also worth pointing out that the rape/murder also makes sense in terms of what we know about Hyde: that he's a manifestation of the darkest recesses of the Id - he's all about violence, and power fantasies, and totally unprepressed sexual urges.
In fact in light of the Mina/Hyde subplot, it seems to me that the scene in question is also about reminding us just who it is we're dealing with. A monster that combines murder with rape and torture for larks and jollies, and not a lovable big guy with anger issues. A fate that even Griffin doesn't deserve - I know I for one didn't find the sequence to be cathartic, and I suspect it isn't supposed to be.

I suppose my point is that while some perfectly valid points have been made about how rape can be abused as a narrative device, I think we need to look at individual cases rather than generalise.
 
 
Sylvia
18:52 / 08.11.06
The Griffin/Pollyanna/Mr Hyde connect is interesting. It hadn't occurred to me before - the Pollyanna incident is presented in a fairly end of the pier, light entertainment style, whereas the Mr Hyde episode isn't. I wonder, though I obviously don't know for sure, not being friends with Mr A, or anything, how much thought he put into the scenes in question. But assuming it was a bit, what point was he trying to get across?

I think Boboss explored/explained the final Griffin and Hyde confrontation well, so I'll skip that in favor of Pollyanna and the other poor girls at the boarding school. It wasn't presented nearly as terrible as the attack on Griffin but I think it's because Moore was rifting and referencing the old Victorian/pre-modern pornographical works that issue. Everything from the school's debauchery-filled art on the walls to the impressive bosom of the headmaster barely restrained by her corsets and accentuated by riding crops was so obviously over the top. Pollyanna herself bounds right back after she's raped, chipper as ever. It's horrific but at the same time hilarious because the Girl's School and its sexual "escapades" almost exist in a quaint little dimension of their own, unfettered by real world sensibilities and psyches.

I'm not sure if the point, aside from advancing the plot, was really anything else other than exploring the steamy side of older literature. Despite the chuckles, it felt a little like filler. Outside of that issue Moore is much more serious about violence towards both women and men as well (Mina being attacked by Griffin, for example, was much more chilling) and where, I think, he really wanted our attention to go.

It seems like a lot of people don't understand the different between making an "adult" comic book and making a trashy, sensationalized, sorta dirty comicbook. I think that it was handled... better, in a more adult way in Watchman, but I can see where you are coming from, there are better shocks and awes and ews that you can grab the audience with.

I think that's why I've been so fairly unhappy with a lot of recent superhero titles with a few exceptions. I don't want R-rated content so much as mature storytelling, and I don't think that's the way a lot of editors and writers are swinging towards. They're trying, bless them, but missing the point.

It's apperently not enough that Wonder Woman has to worry about saving the world from... uh...I dunno, egg-fu? (wonderwomen has terrible enemies), she also has to worry about some guy tying her up with her own lasso and brutally sodomizing her.

Minor tangent: Grant Morrison said in an interview somewhere he had a proposal for Wonderwoman similar to his shot-in-the-arm approaches towards Superman and Batman. Anyone know if anything came of that?
 
 
Jared Louderback
05:51 / 09.11.06
Hah, sorry Papers. I'm new at this, sometimes I forget to turn on the ol' barbefilter. On the internet I am a gentleman, but in real life I can be rude.

I think this problem is just a large symptom from the overall darkening of comics, and I think the main reason for that darkening is poor writers. It's gotta be tough to write a superhero story where you can feel for the heroes, they are guys and gals in tights with superpowers. But it has to be a lot easier to write a superhero addicted to drugs story, or a superhero rape story. The weird thing for me is, it almost requires more suspension of belief than just a plain superhero story does. It doesn't seem internally consistent, or something... I'm not making sense.

guh. It's been a long day, and I'm rambling. It's just a stone-cold bummer that in the past twenty or so years the majority of comics have gone through the trend of becoming more "mature," but only in the sense of ratings, not in the sense of intelligence or storytelling.
 
 
DaveBCooper
10:19 / 09.11.06
Little to add to the general debate here, but just to add that Brad Meltzer is not only a comic fan of old (naming characters in his novels after those in comics), but, perhaps more relevantly for DC Comics approaching him, used to share a flat with Judd Winick, who’s been working for DC for some years now.
 
 
Spaniel
11:49 / 09.11.06
I think there are many more quality writers around in the mainstream than there has ever been
 
 
Hallo, Paper Spaceboy
15:30 / 09.11.06
Jared: Hah, sorry Papers. I'm new at this, sometimes I forget to turn on the ol' barbefilter. On the internet I am a gentleman, but in real life I can be rude.

No worries, just keep in mind that Respect is Key.

I think this problem is just a large symptom from the overall darkening of comics, and I think the main reason for that darkening is poor writers. It's gotta be tough to write a superhero story where you can feel for the heroes, they are guys and gals in tights with superpowers.

Well, a lot of the time it comes across as poorly mixed genres, actually - there is a place for dark comics, for scary stories and more horrific ones - but they seem to favour jumping into the deep end of the pool with the potentially misogynistic & homophobic ultraviolence (maybe a better and more inclusive word would be "anti-humanist," or "misanthropic?").

I don't know. I'm still digesting this week's comics which had some odd notes - one of them being Ralph Dibny punishing Jean Loring - or trying to - in 52. And by "punish," I mean "psychologically torture." I have to reread that whole sequence again to see what I actually think about it, but I'm finding that Ralph's story (which, sadly, no longer gets to include Sue except as martyred-wife-inspiration) is a prime example of the weird progression of comics.

The other comic that's notable in this discussion, out this week, was Tales of the Unexpected #2's Spectre story - I was struck by the fact that Crispus Allen, the new Spectre, has to wander around intangibly watching horrible crimes be committed but he isn't permitted to interfere until someone's murdered; in fact, he stands around and watches them do "horrible things" (unspecified) to a woman, knowing that he's completely powerless unless blood is spilled. The upshot of the comic is that he eventually does manage to act of his own accord and prevent a murder (rather than meting out vengeance after the fact) and that event with the female character is part of his impetus to do so, but it was - interesting. I actually stopped, thrust out of the story by the fact that the "Wrath of God's" mission parameters were so specific. The story has what might be considered an upbeat conclusion for a Spectre story, and it occurred to me that Spectre's always been heir to particularly dark tales right from the get-go, we just get reasonably good art and more narrative flexibility these days to present it. Did anyone else pick this up and want to address this story? I'm still digesting and I'm on the fence about whether I thought it was good or not (more so than the first issue, which was pretty much meh to the Spectre story and YAY to the Doctor Thirteen story).
 
 
Benny the Ball
11:07 / 11.11.06
What I thought was really stupid about Doctor Light having to be a rapist to be considered a really bad guy, was that it kind of makes a hash of the idea of bad guys as murderers being terrible - the whole ethos of Batman and Superman and their like not wanting to kill because it makes them as bad as the people they fight against. Are they suggesting that the mind wipe thing was only brought out to use because Elongated Man was a bit upset, but, you know the all the murdering was fine, and we'll get to them folks and punch them in the face in a little while?

Bad writers trying to show that they can do a 'Moore' by having their scary bad guys rape folk, it's the comic equivalent of young, new film makers having their cool hitmen talk about hamburgers post Tarantino.
 
 
Imaginary Mongoose Solutions
11:25 / 11.11.06
The Marvel Mandate - I'm not sure what it's current status is, but the example I can think of is the Young Avengers and Runaways crossover - a significant grouping of character is taken into "custody" (read: scary bondage & probable torture), all of them either being gay, lesbian, or multi-gendered (Skrull shapeshifter primarily identifying as male but in a lesbian relationship) - however, they're also the most powerful characters in the two groups, so it might be worth unpacking what all of that means.

Ohh, good one. I'm currently tossing around papaer ideas regarding the liberating power of the Other and what an associate would term "monsterous bodies" in comics. Mainly focusing on say Seven Soldiers, but you're dead on about the Avengers/Runaways matchup. (And it brought back Marvel Boy! Fangirl Squee!)

And sadly, I do think the act of rape has become shorthand for "this guy will do worse than kill you". Except for male rape where it's "okay" to use it as a comedy bit, too. You maight have something with the Dirk Anger theory.
 
 
Hallo, Paper Spaceboy
20:11 / 12.11.06
Mongoose: Ohh, good one. I'm currently tossing around papaer ideas regarding the liberating power of the Other and what an associate would term "monsterous bodies" in comics. Mainly focusing on say Seven Soldiers, but you're dead on about the Avengers/Runaways matchup. (And it brought back Marvel Boy! Fangirl Squee!)

The relationship between Karolina and Xavin would be particularly interesting to dissect and analyse, as it always verges on feeling awkward - Karo is a lesbian who rarely sees her girlfriend as a girl, as "she" defaults toward male biology. It is, amongst other things, are perfect example of the thirdgender supersex thing, since suddenly the Body is extremely fluid...

Not only does Noh-Varr come back, but we finally get to see him start to follow through on his "promise."
 
 
This Sunday
15:59 / 13.11.06
If I post a lengthy little ramble, I'll lose the capacity to get online for several days. Just about every time.

Before anything, in reply to whomever asked for more examples of male-rape as necessitating (in comics) that one of the involved need be, apparently, gay: There's 'The Authority' (whcih was, to memory, redrawn from the original more-blatant-ness) but besides that, just off the top of my head, there's, well... Who in 'The Invisibles' was raped? Right. Fanny. And while the Cassidy blowjob thing in 'Preacher' to me, had more to do with addiction and desperation, there wasn't exactly a shortage of comics readers at my then-local shop, shortly thereafter, who were willing to jump straight to it being proof that he was gay, and therefore perverse, and therefore, should y'know, have his balls kicked up through his spleen, or something. Then there were the Sex Detectives. I hate to pile these at the 'Preacher' doors, 'cause I like the series and I don't think it was intended to be hate-the-homosexual night, any more than I buy the line that said it was racist because the only black characters we ever see shoot people.

As far as using rape to up your villain's evilness, I stand by my long ago assertion, here on Barbelith, that in a world where somebody can turn you green, give you feathers, then melt you like icecream so you're running sweet and sticky through the fingers of your lover... in this complicated jet-ape world, the fate worse than death just isn't the level of violence things can escalate to, even if you posit it as the height of our real-world violence. Which, I don't. Because, if nothing else, even in the real world, we can (a) up the ante, and (b) lasershark. Rape is bad, nobody ought to be arguing this, but I'm thinking back on a friend of mine, years ago, and well, rape with a broken bottle is worse. Rape with ebola, is worse. Um... torture, in general, can get very involved. Anybody remember the haunted house issue of 'Hellstorm' back in the day? Ellis introducing the innocent Marvelites of yore to real-world torture devices and some writer's daughters in a broiling in a singing bronze barrel shaped like a bull?

Pulling out rape as your trump card, as your end-it-all, is just... this is why we can see rape scenes in comics and laugh at them. That's how it gets funny.

Did the friend of GL get raped for being gay, or did he just get beat up? I only vaguely glanced in that green direction, during those issues, so I honestly don't remember.

Somebody threatened/alluded-to it with the Pied Piper, some time ago, probably in an issue of 'The Flash' but maybe not.

I won't count 'Dykes to Watch Out For' because it's simply not mainstream. Either in the 'comics shop' sense, which means tights and capes, or the everybody reads'em syndicated strips garuanteed to show up in your local paper, repetitively, as they've done for the past thirteen to thirty years. I mean, honestly, 'Peanuts' is far more mainstream than 'The Flash' or 'Gen 13' but it's easy to forget that when your into comics, I guess.

It's not too prevalent, I suppose, but really, there aren't that many gay characters in comics. There just aren't. At least, gay men. Women can be gay. It's alllowed. Because, y'know, they have soft bits. And they need to still be kinda attracted to men. Because they are, y'know, under the pretense.

But men...

There's like dearth of flirting in mainstream comics. I mean, that's all The New Improved Very We Assure You Very Gay Rawhide Kid ever did in his recent outing. He flirted. Marvel Boy flirted. Spidey and Luke Cage are absolutely flirting almost every early issue of 'New Avengers'. Warren Ellis characters basically all flirt.

But ASS number the first - Superman, clouds, blue blue sky and John Byrne complaining about how Quitely cheated the audience - and the fanboys go nuts: Supes was totally giving them the eye! All of them! And you, me, that girl down the street, and your poor sainted virginal parents - the same parents whom another comic insulted by proxy, when it surrendered Monica Rambeau's mother to cheerleading weasels.

Even if Quitely drew a seductive Superman, what's the beef? How can that be so threatening to these people? I mean, Pogo's clearly been giving the eye for years, but I don't feel the need to dig up Walt Kelley and have it out with him, right?

I've lost track a bit, which is slightly embarrassing, but really, the whole miasma's really annoyingly baffling. It's weirdly uptight, but uptight to a desire-for-public-flogging way.

And it's being marketed at us. Really. That the only way we, the audience, regardless of the realities of our invidiual being, our sexualities or ethnicities or predilection to heavy chemical abuse and flower arrangement, we the audience, are being told, essentially, that we cannot sympathize or empathize with a gay man, unless he's raped, a woman, unless she's raped, or, given the way things are going, Aaron Stack and Krypto the Superdog. Unless they're raped.

How often are women skewered or killed-through-the-crotch in comics? Versus guys? To be fair, maybe it should be boyfriends in the fridge, so the writer can try to wrestle an envagination metaphor out of it. Then have Doom shed a tear on the side.

Imagine 'The Filth' and Baldy Person. His cat. The society they lived in. The pedo suspicion sweaty thing. The pathos. No, let's let Blacksperm Boy at him for a few rounds, and then we'll understand that he might be suffering, that he had sadness in his life. That's how these marketing arrangements, the majority of these kinds of stories seem to be coming off. Insulting.

I don't know how Maggie Sawyer or Rene Montoya made it this long without.

I'm going to avoid mentioning 'Alias' except for just this, to get the gears turning and let everyone draw their own conclusions from memories or rereads. It had some good stuff, but really, the climactic last surge...

I've like jumped backwards to when every thread here was somehow reflective of (somebody's) sexuality. Don't know if that's sentimental or just creepy.
 
 
Hallo, Paper Spaceboy
16:26 / 13.11.06
Daytripper: Who in 'The Invisibles' was raped? Right. Fanny.

I actually have to say I'm not sure I'd categorize Fanny's rape in the same way, narrative-wise - it fits the criteria, but Fanny either got over it very quickly or it was far enough in the past that she'd moved on. Or something. I'm not sure how to explain my take on Fanny, but her whole deal with the shit-into-champagne transformation, and she was never presented as having "issues," you know? It didn't make her weak or vulnerable to me because that was the bad shit that she just turned right around into magic. I can see what you're saying and where you're coming from, but Fanny-as-a-character always seemed to get away with it. But I empathize with her anyway. She's a bit like the Marx Brothers, you know - most of the other characters (I'm thinking of Brodie in particular, in this instance) play by the queers-are-weak script of dominance and violence but Fanny almost ad-libs like Groucho the whole way through.

Supes was totally giving them the eye! All of them! And you, me, that girl down the street, and your poor sainted virginal parents - the same parents whom another comic insulted by proxy, when it surrendered Monica Rambeau's mother to cheerleading weasels.

Best sentences ever. Oddly, I still don't get a dirty gaze from Superman when I look at that cover - it all comes down to a IT'S NOT VIOLENCE!? OH MY GOD IT MUST BE THE SEX! attitude. He wasn't doing a classical Superman pose but was quiet and contemplative instead - pretty thematic of the whole series, actually - so it must be somehow perverse. And Superman is a big sexy man in tights, so I can see wanting him to be flirty. Actually, map that whole attitude onto the "shanking" scene with Lex Luthor and his henchman beating up the Man of Steel in Superman Returns - cinema, yes, but still dealing with the same iconic character.

I've like jumped backwards to when every thread here was somehow reflective of (somebody's) sexuality. Don't know if that's sentimental or just creepy.

I'm all for it if it injects some life into the Comics.
 
 
This Sunday
16:52 / 13.11.06
Briefly, on 'The Invisibles': I don't mean in any way that the scenes shouldn't be there, or that they were even in bad taste. Weirdly, that's probably the best handling of the subject I can think of in comics.

But partly that's because of what 'The Invisibles' was about, even when it might be a precusor: everybody's stereotypes and ad-libbing on type. Drawn to model.

And, y'know, Fanny's the best. There's no denying.
 
 
SiliconDream
23:10 / 13.11.06
I actually have to say I'm not sure I'd categorize Fanny's rape in the same way, narrative-wise - it fits the criteria, but Fanny either got over it very quickly or it was far enough in the past that she'd moved on.

Also, of course, Fanny was a dirt-poor prostitute at the time and was raped by her johns. It was merely the shittiest event in a then extremely shitty life. As opposed to, say, the rape of Apollo or the beatdown of Kyle's gay friend, which came out of narrative left field to happen to Nice, Normal People. (Well, by Authority standards Apollo's about the nicest and most normal you can be.)

And as you say, turning shit into gold is Fanny's thing. In this case, the rape turned out to be rather crucial to the whole plot, since it was the means of both Quimper's enslavement and, eventually, his rescue by Fanny.
 
 
SiliconDream
23:27 / 13.11.06
The Commander, I think, and it's an entirely accurate reading - if I recall, there is no other way to read the scene, really. However, that may not be so much about the Authority as about Mark Millar, who has been addressing the challenging issues of today through the bottie door since his first published work, "Saviour".

And Millar, let us recall, saved his masterstroke for a woman on the team. Apollo got off easy compared to the Engineer, who not only got brainwashed into a fictitious abusive relationship (along with, er, the only other woman on the team) but was also one of the very few victims of temporal retro-child molestation.
 
 
Hallo, Paper Spaceboy
01:50 / 14.11.06
SiliconDream: Also, of course, Fanny was a dirt-poor prostitute at the time and was raped by her johns. It was merely the shittiest event in a then extremely shitty life. As opposed to, say, the rape of Apollo or the beatdown of Kyle's gay friend, which came out of narrative left field to happen to Nice, Normal People. (Well, by Authority standards Apollo's about the nicest and most normal you can be.)

Well, it might be worth unpacking what was intended with Fanny in that regard, though - she was patronized by the Mayan goddess of filth and lust and shame, Tlazolteotl, she was, in a lot of ways, designed to be abused for good or ill. That might be worth looking at, vis-a-vis authorial intent and what's going on with that. Fanny takes all that shit into herself and makes it better, makes something out of it. She does, at her lowest point, blame her mother - why? Because she wasn't allowed to be a straight-up (heh) gay boy or possibly a transvestite of her own accord? Because she inherited the shamanic power even though "she" wasn't supposed to?

It's not that I don't agree -- what happens to Fanny is presented in a different fashion, coming out of a different narrative direction, and isn't used a primary element of Violent Othering, but there's something going on there that isn't quite clicking or is interesting, at least.

Apollo isn't the nicest and most normal insofar as the Authority - I'd put Swift there, because she wasn't engineered specifically for killing people like Apollo was. Actually, it's a difficult question because I just recalled her taking off several people's heads and shoving some guy to the bottom of the ocean...

And Millar, let us recall, saved his masterstroke for a woman on the team. Apollo got off easy compared to the Engineer, who not only got brainwashed into a fictitious abusive relationship (along with, er, the only other woman on the team) but was also one of the very few victims of temporal retro-child molestation.

Which still manages to be creepy every time I've read it. The Engineer's sexuality remains one of the more interesting aspects of The Authority and the molestation event is such a, er, non-event handled off-handedly in the middle of a fight that it's almost disturbingly creative in execution compared to the majority of these cases. Angie is beat out, though, by Swift - I've never seen a female character so often debased, assaulted, tied up and tortured as Swift outside of a Wonder Woman comic, and those are usually presented in a completely different way. It seemed to happen on a regular basis at one point and was a big factor in why I didn't bother to continue reading it.

On the Young Avengers thread from earlier, I'm thinking about Kate "Hawkeye" Bishop, and how she seemed to be quite a refreshing character right up until the special comic where they revealed everybody's origins; everyone else got to have moderately interesting stories told about them but Kate? Kate got a sexual assault in Central Park as her "chief motivation." Up until then I really enjoyed Kate as a character because she was the one towing the "millionaire rocket scientist" angle (name-checked in the Authority story with the molestation, oddly enough: "Oh, for God's sake. It was bad enough with the heroin addict and the two fat queens over there. Whatever happened to heroes who were rocket scientists and millionaire philanthropists?") and had simply trained herself to be very, very good with various weapons and combat styles of her own accord - the special that revealed her origin actually made me stop, grunt, and realize we'd have another case for the "Women in Refridgerators" list and it totally took me out of the narrative. Instead of allowing me to empathize with the character, the sexual assault (it's never referred to as "rape") made me see her as part of the growing trend and soured the character a little bit, mostly because the event highlighted how ill-conceived her origin was, as a whole; Kate Bishop's a strong female character with an interesting personality and a lot of qualities and flaws to make her interesting, but her origin undercut that a little bit and unfortunately made her seem flat. The rape hasn't even come up since in any way and female like a stoke on a checklist for backstories.
 
 
Our Lady Has Left the Building
06:01 / 14.11.06
Decrescent Daytripper, perhaps I misunderstood you originally because I thought when you said And then there's this warped notion that if one writes a gay man, they need to be raped you were saying that if there was a gay character in mainstream comics he would be raped at some point. As for your examples, you can have 'Invisibles', yes, but not Cassidy in 'Preacher', the fact that your comic shop is full of morons does not count as a positive vote, though I seem to recall the Sex Detectives bugger Starr at one point don't they? I think Ellis had to respond to it in the letters page by saying "I KNOW that being buggered doesn't turn you gay, it's Starr that thinks that's how it works".

I have to admit I find some of the rest of your post difficult to understand.

Did the friend of GL get raped for being gay, or did he just get beat up?

He was 'just' queerbashed, not raped, this being the mainstream DCU.

How often are women skewered or killed-through-the-crotch in comics? Versus guys? To be fair, maybe it should be boyfriends in the fridge, so the writer can try to wrestle an envagination metaphor out of it. Then have Doom shed a tear on the side.

Are you saying here that you disagree with the premise of Women in Refrigerators? I don't understand.

Imagine 'The Filth' and Baldy Person. His cat. The society they lived in. The pedo suspicion sweaty thing. The pathos. No, let's let Blacksperm Boy at him for a few rounds, and then we'll understand that he might be suffering, that he had sadness in his life. That's how these marketing arrangements, the majority of these kinds of stories seem to be coming off. Insulting.

Again, what? Are you saying here that some male/male rape would have improved the story?
 
 
This Sunday
19:07 / 14.11.06
Quickly:

BFs in the Fridge: Just positing that if there's going to be a plethora of meaningful crotch impalement death for female characters, maybe it'd balance it out if, instead of Girlfriends in the Fridge, it's I dunno Steve Trevor or somebody, as to allow the creative gender-frustrato-anger complex to churn in both directions, seeing as how I can't really form a phallic connection through stuffing someone into the freezer, but you could probably cull a vaginal deathsqueeze icy metaphor thingy if you gave it the old college try.

Maybe not.

Secondly, as to 'The Filth', I am in no way supporting that there should have been some Greg-raping going on in the series. I am suggesting that the normative marketing tendencies, as I'm seeing them in comics, it may be specualated - and probably was by somebody - that the reason so many readers were complaining they couldn't sympathize with Feely, that they couldn't process the metaphors of a man and his cat and bright green wigs and giant pens of pain.. was insufficient rape. It's what the kids want, nowadays, you understand.

I apologize for any confusion; unfortunately, me being facetious reads more or less precisely like me being excited.
 
 
This Sunday
19:18 / 14.11.06
'And then there's this warped notion...' on the other hand, was hyperbole, and probably should have been limited by a statement of 'seems' or such.

Or, I could have just replaced 'gay men' with 'women characters invented after the nineteen sixties' and been fairly safe. Which is really sad. I mean, there are a lot of them, unfortunately. Raped or sexually assaulted. From Swift, to The Engineer (Angie was practically my hero during the first twelve issues of 'The Authority', too) to the 'Young Avengers' Not-Hawkingbird gal, Mrs. Elongating Man, Black Cat, Sally Whatserface from 'Watchmen', Byrne's Invisible Girl/Woman might come in there, the lead from 'Alias', to Batgirl, to well, lots of women except for Black Canary.

On the male side? Nightwing, Spider-Man (non-continuinity propaganda for the kiddies oneshot), and maybe Apollo maybe not.

Mainstream tights stuff alone.
 
 
Jake, Colossus of Clout
19:59 / 14.11.06
There's Starman, too. Is that the only incidence of female-as-rapist in mainstream comics?
 
 
Jake, Colossus of Clout
20:03 / 14.11.06
Besides Nightwing, obv.
 
 
The Falcon
20:21 / 14.11.06
Well, Tom Strong had his seed taken by Ilse Krause around #7 or 8 of his title, and there's a very odd '70s queer-fear thing I've seen with Bruce Banner written by Jim Shooter, but he's not actually raped iirc.
 
 
A beautiful tunnel of ghosts
17:48 / 15.11.06
Decrescent Daytripper: There's 'The Authority' (which was, to memory, redrawn from the original more-blatant-ness)...

Could someone please confirm for me whether or not the scene in which Teuton and the Commander defeat Apollo was rewritten and/or redrawn? I read the issue when it was published and remembered the end of the scene as the Commander stating and/or showing explicitly that he was about to rape Apollo, but when I borrowed the trade paperback recently I was surprised to find that the scene was more implicit.
 
 
The Falcon
19:07 / 15.11.06
The scene was redrawn, but I'm fairly sure not for any sexual issues (it's fairly explicit what Teuton wants, in any case) but rather because the original featured Midnighter blowing a hole through his head, rather than just in the back.
 
 
SiliconDream
02:09 / 16.11.06
There's Starman, too. Is that the only incidence of female-as-rapist in mainstream comics?

In L.E.G.I.O.N. '90 (I think that was the year), Vril Dox II was raped and murdered by Stealth. That's the norm for her species' reproduction, apparently, and her special "uncontrollable-sexual-bloodlust-causing-organ" burned itself out thereafter.

Naturally they brought him back to life, and they eventually fell in love and raised the baby together. "You should have thought of that before you raped and murdered me!" became a frequent refrain in their household squabbles. Ah, happy endings.

Come to think of it, in all 3 cases of female-on-male rape mentioned so far, the lady was treated as or more sympathetically than she had been in the past. Tarantula became Nightwing's girlfriend/fiancee/I'm not really sure what else for a while, Stealth remained a major heroine of the book, and the Mist became a tragic, doomed villainess.
 
 
SiliconDream
02:13 / 16.11.06
Apollo isn't the nicest and most normal insofar as the Authority - I'd put Swift there, because she wasn't engineered specifically for killing people like Apollo was.

That's true. On the other hand, in his StormWatch days Apollo had an almost Supermanish level of self-restraint despite his training and design; as Midnighter said, he was a "mild man." Even in the Ellis Authority, he usually punched people across the room but didn't actually put his fist through their skull like Hawksmoor. Well, except for when he'd incinerate a bunch of people now and then. But he was provoked!

Come to think of it, Hawksmoor was pretty nice and (mentally) normal before the Authority too. That's where hanging out with the Midnighter gets you.
 
 
Evil Scientist
09:46 / 16.11.06
Come to think of it, Hawksmoor was pretty nice and (mentally) normal before the Authority too.

I always liked the theory that his killing of Rose Tattoo had contaminated him somehow and that was why he went from crying about executing a serial killer to merrily beating people to death with a spinal column.

Of course that was before Rose was revealed to have reincarnated. Now it just looks like Hawksmoor had a helluva lot of repressed rage.
 
  

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