We’re back and we are kicking things off with Shawn talking about her trip to the annual Borderlands Comics and Games sale. She talks hanging out with J Chris Campbell and picking up a few comics along the way.
Read MoreWhere does the time go? I thought we were going to do a FLUKE 2015 review podcast, but we never did. When FLUKE 2016 rolled around I was going to do an article reviewing the books we got, but I never finished it. So here it is, 2017 and FLUKE is around the corner. I am finally going to finish my review of FLUKE 2015! Better late than never?
Here is a list of the awesome things I picked up!
Heart Attack and Hulk Retired! and Strabismus by Jordan Fitch Mooney
Three Monsters, Defanged by J. Chris Campbell, Isaac Cates, and Mike Wenthe
F&$#wizards by Eleanor Davis
Dead Sexy by David Mack
Watercolor painting by Michele Chidester
Big Caramel by Jason Horn – Adam found Jason Horn’s first mini at Bizarro Wuxtry. We have been in there numerous times but for whatever reason neglected to pick it up. But we did this time and it was a fun read! Also, we picked up Aw Yeah! Comics #9 which has a Ninjasaur story in it.
“Be Quiet” fox print by Erin Gladstone
Atomic Elbow #13 with cover Sean Wars and back cover by The Hand of Beaver – Speaking of Atomic Elbow, I am a contributor on issue #11! You should pick it up and listen to me express my love of Dolph Ziggler.
How To Ignore People By Pretending To Read A Book by Lee Gatlin
FLUKE Souvenir Comic featuring Joey Weiser, Max Clotfelter, Rich Tommaso, Scott Stripling, Lee Gatlin, Patrick Dean, Sammy Herring, Michele Chidester, Justin Colussy Estes, and Judson Culver
Ghost Rider by various contributors
One-Eyed Dragon by Maggie Venable
Also we picked up a few things from Josh Nickerson who was our table buddy.
We bought some solid books and art this year. This was also the year I wore a shiny blue dress for some reason! I hate that it has taken me so long to post about the awesome stuff we bought! 2015 was a bit of a rough year for me health-wise. I’m so glad that I am better now than I was then. Adam and I are looking forward to FLUKE 2017. It will be April 29 and is held at the 40 Watt Club this year. Hope to see you there!
Special thank you to Heather Peagler she borrowed my camera and took pictures for me all day.
We will be at SC Comicon selling our wares and promoting our podcast at table 1024! We will also be recording panels, moderating, and helping out where needed. Join us at the TD Convention Center in the lovely city of Greenville, SC April 2 and 3 for a rocking good time!
Here are the Top 10 things that we are most excited about at SC Comicon!
1 - Helen Slater - Adam is a huge Supergirl fan so he is super excited to get to meet actress Helen Slater. When he was going through her film career he got more and more excited. She has been on Supernatural, Smallville, Greek, Boston Public, Caroline in the City, and Batman:The Animated Series. In other words, she has been in a lot of Adam's favorite shows!
2 - Sanford Greene - We here at the Dollar Bin have been thoroughly enjoying Power Man and Iron Fist. Sweet Christmas this book is good! Adam is especially looking forward to talking to artist Sanford Greene about his work on the book and maybe even picking up some art by him.
3 - Budd Root - Shawn is super stoked to see artist Budd Root because she is finally going to commission him to do a Cavewoman piece for her. A piece by him has been on her "To Get" list for a long time now.
4 - Panels - Members and friends of the Dollar Bin will be moderating a number of panels throughout the weekend! There will be a number of spotlight panels with the likes of Greg Capullo and George Perez. Also there will be discussion panels on topics ranging from cosplay to painting. Stay tuned for more information about the Schedule of Events at SC Comicon!
5 - Joey Weiser - Adam and Shawn were talking the other day about what a prolific cartoonist Joey Weiser is. He has a creator-owned series, Mermin, through Oni Press. He did a strip, Monster Isle, for years. He has several graphic novels under his belt. He is an occasional colorist. On top of all of that he works on the super popular Spongebob Comics that are published internationally. Weiser is definitely on the top of Adam and Shawn's list of favorite cartoonists!
6 - IR Harris - IR Harris is a writer and artist based in Asheville. She is such a nice and energetic person! Every interaction that the Dollar Bin has had with her has been incredibly positive. This convention we intend to remedy the fact that we have yet to read her work.
7 - Joe Everson - Joe Everson is an incredibley talented painter who happens to be local to the Greenville area. His studio is in Taylors Mill. If you are in the neighborhood you should take advantage of First Fridays there and check out the space and the other artists there. Recently at a Greenville Swamp Rabbits hockey game Everson sang the national anthem while live painting. It was amazing!
8 - Wide Awake Press - A few of the members of Wide Awake Press will be present at SC Comicon. We love hanging out with these guys! J Chris Campbell, Duane Ballenger, and Wes Brooks will all be near the Dollar Bin table so if you come see us they will be very close by. Campbell is the leader and herder of Wide Awake Press. He has been creating some stellar new work so we can't wait to stop by and see what he has in store. Ballenger is one of the funniest guys in comics. His off-the-wall style is perfectly encapsulated in his mini-comics. Check out his work pronto! Brooks is the pretty face behind Undead Speed Equipment. But don't let that face fool you, he is the dark and brooding edgy side to Wide Awake. And I'm sure he will love us describing him as such! His design sense is crazy awesome! Be sure to pick up his new sketchbook and tell him that the Dollar Bin sent you!
9 - Digging - One of Shawn's favorite things to do at conventions is dig for obscure comics and oddball toys. She often does this with various members of Wide Awake Press and even her husband if they can manage to align their schedules. Looking at the vendor list it looks like there will be some quality digging to be had!
10 - Drink and Draw - Last year's Drink and Draw was a lot of fun and this year's is shaping up to be even better. It will be at the Hilton this year. We are looking forward to picking up some great pieces and contributing to Team Cul de Sac and Hero Initiative in the process.
Leave your preconceptions at the door. All of them. This isn’t a gimmicky re-imagining of the Pinocchio story like those mash-up novels, nor is it like the “happily ever after” Disney animated feature. Pinocchio, Vampire Slayer is a well-told continuation of the original Carlo Collodi tale. Van Jensen and Dusty Higgins make this clear right away. Don’t skip over the forward or the summary of the original, it is essential to the basic framework of the story about to unfold.
Read MoreDC Comics recently relaunched their entire line of comics in hopes of revitalizing their brand and attracting new readers. With The New 52 came a lot of controversy surrounding female creators and characters. The loudest public outcry has been over the perceived objectification of women in Red Hood and the Outlaws (by Scott Lobdell and Kenneth Rocafort) and Catwoman (by Judd Winick and Guillem March). Here, I intend to prove that the protests are justified and that the depictions of Starfire and Catwoman are indeed objectifying.
Historically speaking, the typical viewer of a work of art was a male, just like the typical comic reader is a male (heterosexual with disposable income). It wasn’t until fairly recently that the term “male gaze” was coined to give voice to these assumed eyes that were viewing works of art. It not only describes the perceived viewer but it also comments on how the work of art was, and still is, constructed in order to please this assumed male patron. A female is thus turned into an object when she is there solely to give pleasure to this male gaze. Conversely a female is treated as a subject when she is a fully-formed, three-dimensional character that is an active and vital participant in the story or image. In a single image a female can be turned into an object or treated as a subject. Women throughout art history have been objects meant to be looked at. Just like the Barbara Kruger piece on the right states: “Your gaze hits the side of my face.”
Art has a long history of images that cater to the male gaze. One of the best examples of this is Titian’s Venus of Urbino. It is little more than 16th century porn. Everything about her panders to the male gaze from her inviting smile to her soft features. Her anatomy is exaggerated to better please the viewer. Follow her arm as it lays across her belly. There isn’t bone underneath that flesh. An arm can’t bend like that. Follow her arm down to her hand. Is she covering herself up? Or, is she getting things started? She is like the Classical Greek sculptures of Venus who are surprised that you caught them, but aren’t upset in the slightest. They have inviting smiles and cover up to draw attention to the fact that they are nude.
Here is a classic example of woman as subject. Edouard Manet’s Olympia is directly commenting on the Venus of Urbino and subverting it. She is a confident and defiant female. She is not a passive object but an aggressive subject. She is angular and rigid not soft and round. The position of Venus of Urbino’s hand over her crotch signified her nakedness and her willingness, however with Olympia it signifies her control over the situation. Her hand isn’t resting or nestling, it is clamped down. The viewer will not participate in anything unless she permits.
In Laura Mulvey’s groundbreaking essay Visual Pleasure and Narrative Cinema she uses Sigmund Freud and psychoanalysis to explain and criticize female objectification in film. Women are on display for the pleasure of the male viewer and thereby turned into objects of desire. The female may drive the male lead to act, or drive the plot forward, but the man is the one doing the acting. He advances the plot and continues the story. The female figure represents castration. There are two ways to escape from this anxiety: voyeurism (asserting control over the anxiety) or fetishism (turning the anxiety into a harmless object). In order to break females free from subjugation we must break free from conventional film making and depictions of women. Even if you do not buy into the castration part of the argument, it is clear how women in film are objectified using voyeurism and fetishism.
The female objectification in film described by Mulvey directly parallels that of female objectification in comics. Women are fetishized in much the same way. Comics are written and drawn for the pleasure of the male gaze. Typically, women are little more than window dressing. They are usually secondary characters who may help advance the plot but usually don’t actively drive the story. Women are treated as sexualized objects presented for the pleasure of men. They are not subjects or the focus of the plot.
Cindy Sherman brilliantly comments on females in film through her photography series Untitled Film Stills. She comments on both women as objects and women as subjects. Upon first glance the female in the image appears to be an object for the pleasure of men. However, Sherman is using the idea of the gaze and the tropes of objectification in order to comment on how we as a society turn women into objects. The female in Untitled Film Still #6, the image to the right, is layered with meanings through her pose and facial expression and thereby transcends objectification. She is the subject of the image and not the object of desire, especially as seen in her.
Red Hood and the Outlaws begins with Jason Todd (Red Hood) breaking Roy Harper (Arsenal) out of jail. We aren’t introduced to Kori (Starfire) right away but when we are we aren’t introduced to her as a person or as a character, instead we are introduced to her as a pair of breasts, or “pair of 38s” to be exact. The first image we get of Starfire is with her face directed downward in a pose of submission. She allows the male gaze, the assumed heterosexual male reader, to wash over her. She has just destroyed three tanks yet the focus is on her looks and her body. Her first words are: “Is there anything else I can do, Jason?” She is there for the pleasure of the males around her. As the comic continues we are presented with her in a bikini sexually posing in the water. There is a little boy taking pictures of her, letting us know that it is ok to be a voyeur. Starfire’s bodily postures are forced and unnatural, especially in the image towards the beginning of this post. Her back is contorted into an anatomically impossible angle. Just like the Venus of Urbino her body is unnaturally posed for the pleasure of the viewer. Throughout the comic we view her not as a person but as a fetish. Her objectification continues as she moves from an object to desire from afar to an object to possess through sex as she propositions Roy. In this comic sex isn’t about love or empowerment it is about enacting the fantasies of the reader. Roy poses a question to Starfire, “So, is there anything I need to know about making love to a Tamarean?” Her response is, “Just that love has nothing to do with it.” Earth men to her are boring and interchangeable. It is unclear whether or not she actually derives any pleasure from the physical act of having sex. The only thing that is clear is that she is there for the pleasure of those around her. Starfire’s storyline does little to affect the plot in this issue. If you remove her completely it does little to change the plot of the comic. All of the real action centers on the two males.
Catwoman is introduced similarly with the focus being on her body not on her as a person or a character. In fact, it is several pages before we even see Catwoman’s face. Instead of viewing her as a whole person we view her as a sum of her body parts: a breast, a mouth, a butt. Throughout the comic we are focused on her body and how she uses it. We are compelled to think about what she will do with those lips or those hands. Usually this is not in terms of her fighting skills but rather her sexual skills. She is made into an object meant for the pleasure of the male gaze even when she should be seen as a subject. When she is crashing out of the window of her apartment, when she is landing hard on a rooftop, when she is jumping off of a rooftop and when she is fighting her way through the party we should be viewing her as an action star but instead we view her as a fetish. In all of these instances she is posing for the male viewer. Her poses are forced and unnatural. She is basically winking at the viewer as she flies through the air. We notice her breasts and her hips, not her skills as a thief or as a fighter. She uses her sexuality to overcome the Russian mobster and then at the end of the comic she uses her sexuality again to overcome Batman. Instead of just beating up the mobster she attempts to seduce him which really serves little purpose other than to show her without a shirt on. She could have just as easily slipped into her costume and then approached him while he was alone in the bathroom rather than drawing him near with her breasts while he was alone in the bathroom. The final scene in this issue is of Catwoman getting Batman to submit to her desires. She is not being empowered as a woman she is merely acting out the fantasies of the heterosexual male reader, or possibly that of the male writer. The reader is a voyeur who is welcomed into the room during a supposed intimate moment.
The quintessential image of Catwoman in action in this issue is this panel:
Wonder Woman (by Brian Azzarello and Cliff Chiang) is a perfect counterpoint to the female objectification in Red Hood and the Outlaws and Catwoman. She is shown as sexual and yet she isn’t objectified. We are introduced to the other characters in this issue before we even catch a glimpse of Diana (Wonder Woman). When she finally arrives in the story she is naked, asleep in bed. She could have been portrayed as weak and vulnerable yet we see her as strong and assertive. From the moment she is introduced she confidently takes charge of the situation defining herself as a subject, as a three-dimensional character and active participant in the story. She is not there only as pleasure for the male gaze.
We saw Catwoman in action. Well, this is Wonder Woman in action:
The difference is clear. Catwoman is made to be a sex object. She uses her sexuality, not her fighting skills, to get out of a dangerous situation. She is not sexually free and liberated, she is a sex object. There has been a shift in this society (as described in Ariel Levy’s book Female Chauvinist Pigs: Women and the Rise of Raunch Culture) to view sluts as empowered women, however this is not a true example of empowerment. This is merely a push for women to act like men in order to be viewed as equal. Wonder Woman is in charge of the situation and uses her fighting skills to protect and defend. We do not question Wonder Woman’s femininity and sexuality. She uses it when she protects and cares for Zola much like a mother would care for a child. Laura Hudson does an excellent job of voicing her opinions on this matter in The Big Sexy Problem with Superheroines and Their ‘Liberated Sexuality.’
Sources:
[Azzarello, Brian (w), Chiang, Cliff (a).] Wonder Woman #1. New York: DC Comics, 2011.
Cruz, Amada et.al. Cindy Sherman: Retrospective. Chicago: Museum of Contemporary Art, 2006.
Hudson, Laura. The Big Sexy Problem with Superheroines and Their ‘Liberated Sexuality.’ Comics Alliance. 22 Sep. 2011. Web. 08 Oct. 2011. <http://www.comicsalliance.com/2011/09/22/starfire-catwoman-sex-superheroine/>
Levy, Ariel. Female Chauvinst Pigs: Women and the Rise of Raunch Culture. New York: Free Press, 2006.
[Lobdell, Scott (w), Rocafort, Kenneth (a).] Red Hood and the Outlaws #1. New York: DC Comics, 2011.
Mulvey, Laura. “Visual Pleasure and Narrative Cinema.” Art After Modernism: Rethinking Representation. Ed. Brian Wallis. New York: The New Museum of Contemporary Art, 1999. 361-373.
Stokstad, Marilyn. Art History. 2nd ed. New York: Harry N. Abrams, Inc., 2002.
[Winick, Judd (w), March, Guillem (a).] Catwoman #1. New York: DC Comics, 2011.
Every week the Dollar Bin Comics Podcast brings you insightful podcasts and articles about comics. No, seriously, they do. I really mean it.
We’re back and we are kicking things off with Shawn talking about her trip to the annual Borderlands Comics and Games sale. She talks hanging out with J Chris Campbell and picking up a few comics along the way.
Since the day we met Jim Rugg at Heroes Aren't Hard to Find as part of the Afrodesiac tour, he has been a favorite of the Dollar Bin. It is funny to realize that over the last 8 or so years, this is the first Dollar Bin vs Jim Rugg interview.
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