Michael Weisnor writes:To be fair, sexism has always existed in comics and it's pre-cursor pulp magazines.
No kidding. I still remember an old "Spider" pulp where a very hot, but very dead young lady was displayed in a store window, stripped naked and spinning around on a rotisserie! Compared to pulp writers, Ron Marz was a piker!
Julian Perez writes:Here's my point, in a nutshell: the problem isn't women die in crossovers or wear belly shirts. The problem is that women aren't three-dimensional, and many writers lack the ability to make ANY character three-dimensional, much less those of a different race or gender from themselves.
Well, it's certainly true that a majority of comics writers aren't especially gifted, but I think the issue goes way deeper than that.
You have to ask yourself WHY stories are written the way they are, and why they sell. In the Golden and Silver Ages, you could get away with making Lois Lane a conniving, snoopy pain the butt because you were writing for young boys who pretty much saw girls that way. Girls after all were the ones who always wanted to play "tea party" instead of cowboys and Indians. We may have looked up to Superman and Batman as "adults" who could do things we weren't old enough to do yet, but in a very real sense they remained little boys so we could identify with them. We expected comics to reinforce our worldview (girls = no fun) and so they did.
That all works when comics are written for 9-year-olds, but today the professed audience is much older and more "mature," so it's troubling to see the mysogeny not only carried over but amped up about a thousandfold. And I'd argue it's as much about target demographics today as it was in 1955: writers believe (realize?) that their male readers have some serious issues with females and so they give 'em what they want...dead women, raped women, naked women. Just last week I saw an Avengers story where the whole team is stripped naked (why? Was this really necessary?) and the current Marvel solicits tout an upcoming issue of "Ant Man" where the "hero" uses his power to spy on girls in showers.
It seems pretty obvious to me that some writers and publishers see comics readers (which are, as ever, mostly male readers) as so many sexually frustrated perverts who want to see only one kind of woman in their comics; the hot, naked kind. This theoretical reader is like the "Comic Book Guy" on the Simpsons...his entire sex life consists of fantasy orgies involving himself, Julie Newmar's Catwoman, Mrs Peel and Lt Uhura.
And you know what? It sells, so they must be right. So I think it's entirely proper to look at why; why do these images appear in comics and why do they sell so well? What does it say about the people who make the comics and more importantly, about the people who read them? Is the hobby perceived as a hang-out for misfits, weirdos and socially maladjusted trolls and if so, is there in fact some merit to that perception?
Rape and sexual violence is the single most horrific thing a woman can possibly experience. Thus experiencing and surviving it shows a strength of character. It shows a woman is "tough" in a way defeating a bear singlehanded may not.
So how "tough" was Kyle's girlfriend to get her neck broken and her rump plopped in the salad crisper? Should I feel admiration for how much that helped her grow as a person?
Personally, I think a by-product of tailoring comics for an increasingly older audience is having it gradually evolve into something very much like porn. In that old Spider story, the hero could never have had sex with a woman, but the writer could strip and skewer a woman and have it be accepted as part of the fun. In the slasher films of the 80s, hot, naked babes were forever being done in by power tools weilded by killers who couldn't penetrate them the old fashioned way. In both cases, there's a sense of getting around impotence through violence, and that same thing at play today in comics. It's hard to publish a comic full of sex without legal headaches, but its considerably easier to get away with a comic full of violence. In fact, as Frank Miller said about Batman, sex for these characters often IS violence.
Anyway, my point is you can't simply dismiss this sort of thing as a case of writers not being up to the challenge of writing believable women characters. There's a difference between making, say, Vicki Vale a tiresome bore and chopping her into 16 pieces. It's the difference between negligence and malice.