GENDER EXPLORATION

THROUGH THE ART OF

COMICS AND MANGA

Zuluf Esra Yakingun

YAK11330253

London College of Communication

BA Interaction & Moving Image

Year Three

Contents

Abstract & Keywords

Introduction

11

Chapter One: Dominance & Gender

16

Chapter Two: Aesthetics & Appearances

34

Chapter Three: Sexuality & Identity

46

Chapter Four: Fan Culture

62

Conclusion

81

References

84

Bibliography

85

Abstract

his Dissertation explores the relationship between gender

and culture through the use of comic books. On the one
hand dealing with an in-depth exploration of superhero characters from western comics. While on the other, highlighting
gender and sexuality through Shoujo manga (girl comics)
narrative. Comparing and contrasting each culture together
to gain further understanding of gender treatment through the
medium of comics.

eywords: Comics, manga, gender, culture, Super

heroes, shoujo, American, Japanese, Eastern,
Western, narrative, Revolutionary Girl utena, Sailor
Moon, Ranma 1/2, Boondocks, Spiderman, Wonder
Woman, Spiderwoman.

Question
How do different cultures
represent gender?
Focusing on transformation in
American superhero comics and
Japanese shoujo manga?

Introduction

ender has always been a key focus when analysing

different forms of media. The aim of this discussion is to
investigate how gender is informed through the medium
of comics. By conducting an in-depth investigation of these
two different cultures. How, in this case Western (comics) and
Eastern (manga), cultures tend to use this medium as a platform
to express ideas of gender. Ways in which they work around the
issues concerning gender, and the narrative devices used to
demonstrate as well as retaliate against gender stereotypes.
Targeting areas such as Dominance and gender, how this has
contributed and influenced the comics industry, through gender
representation. Following on to the aesthetics from a range of
comics/manga to the anatomy and fashion, even examining the
artistic style choices.
Leading into an analysis of the characters through sexuality
and racial identity, what devices have been used to explore
these? How does history help us to acknowledge this? Using
key ideas from a historical context to help investigate these
examples, such as The Comics Code Authority to analyse
American Super Hero comics and Kabuki to understand and
identify narrative choices made in Shoujo manga.
Finally, directing attention to fan culture, targeting areas such as
fan participation and possibly a look at consumerism. How do
fans show their appreciation towards these stories? What are
the levels of engagement with comics and popular culture from
either side? How is this achieved through the use of cosplay?
Has this affected the creators of the original content? If so, what
is the response to the fan participation towards all forms of pop
culture?
Investigating the use of fan art/fiction will help illustrate fan
culture and how they take it upon themselves to make something
better out of the original product. Through an examination of
fan published works and the involvement in the comic book

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industry. From crowd funding websites to fan fiction (and

Doujinshis), this will help to form a better understanding of how
fan published work is used to expand gender representation.
The reasoning behind the structurqe of this dissertation is to
demonstrate gender representation through the approach of
two particular elements. The story and visual interpretations.
By using historical context i.e. Kabuki and The Comics Code
of Authority, to give an overview of how this has affected the
comics and manga industry overall in terms of gender. An
examination of comics through these two distinct cultures, the
approaches taken by either side regarding gender exploration,
and, what are considered to be exclusive or universal to the
cultures?
By analysing a number of selected examples, which clearly
demonstrate gender exploration through both the narrative
and visuals. Bringing it all together with the examination of fan
culture, looking at the responses of active engagement taken in
comic book culture itself. The contributions made by fans, and,
how this in turn has affected the way gender is treated through
graphic narrative.
By taking a selection of stories from both cultures and using
theorists who have investigated gender through comics in more
depth. Along with the observations of gender representation
through the use of both character and narrative exploration.
The theorists who will be referenced throughout this discussion
range from Susan J.Napier, Toni Johnson-Woods, Paul
Williams, etc. These are just some of the theorists chosen to
help further investigate the subject.
Comics have usually been seen as a form of escapism from
the stresses of reality. An exploration of the possible what if?
factor. Originally seen as an inexpensive entertainment for
children (p.159, 2009, woods). In other words, a platform,

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which can demonstrate representation through the use of visual

communication in graphic narrative. By using entertainment, as
a source for audiences to engage with a number of themes and
genres, these will be highlighted throughout this discussion.
The primary objective of this investigation is to make a distinction
between gender treatment through two cultures by using both the
visuals and narrative itself. From the analysis of sex, sexuality
and culture along with the use of race, to demonstrate how this
is achieved through Western and Eastern comic book narrative
structures. However, this will not be as thoroughly examine as
some of the other themes throughout this discussion, it is still
worth mentioning.
Through a selection of chapters race will be used to demonstrate
a better understanding of gender representation, especially
when looking at Western comics. It is an important component
to regard as American and European comics tends to utilize
themes of ethnicity and sexuality more so than its Japanese
equivalent. Manga tends to direct attention toward gender and
sexuality, rather than the ethnicity of the character.
Theorists such as Frederick Luis Aldama and C.sheena Howard
explore the racial and cultural side of comics that explore
gender through the use of multiculturalism. Using stories
such as Boondocks (1999) and Love and Rockets (1981)
to further demonstrate the sexuality of characters through
racial background. Leading on to an analysis of homosexual
characters such Northstar and Batwoman in order to gain better
understanding of representation through the use of sexuality,
gender, and ethnicity. Each of these characters will help us to
realize how they play a role in expanding a more diverse range
of relatable characters that fans can engage and connect with.

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Chapter One
Dominance &
Gender

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15

ale dominance has been a recurring problem regarding

gender representation through popular culture. Comics
especially from either culture share similar patterns
of male dominance, which can be seen through a number
of comics over the last four decades. Addressing Gender
dominance through the use of The Comics Code Authority
(1954) for example, it becomes evident through this argument,
how this was utilized as a form of censorship, more so through
superhero comics, as apposed to Shoujo manga.
In marked contrast to mainstream United States comics,
Japanese manga have repeatedly and openly dealt with a wide
variety of gender expression as well as a range of manifestations
of same-sex love (p.157. Woods. 2009)
This meant Western comics were much more restricted in terms
of flexibility especially when concerning themes of gender and
sexuality compared to Japanese Manga, which dealt with these
subjects more frequently and openly.
The Comics Code Authority was used as a form of selfregulation on comic books from 1954. Created initially in a
moment of public hysteria and spawned by the comic book
industrys fear of government censorship. (Cowan, 2011, p.1).
And finally ending in 2011, immediately this gives insight into
the effects this had on superhero comics, along with how this
shaped the comic book industry over the last four decades.
For nearly four decades, major newsstands, supermarket
and drugstore chains all refused to stock comics that werent
branded with the comics code seal. (Cowan, 2011, p). Comic
distribution was affected greatly because of this, whether or not
they carried the seal of approval meant that it could make or
break comics from being published.

Authority was implemented), was convinced comics corrupt

children with their secret messages advocating social evils
such as crime, loose sexual morals, and antisocial behavior []
(Kistler, 2014). Hence the Comics Code Authority was born, a
set of rules prohibiting comic book companies (such as Marvel
and DC) along with comic artists from the use of certain words
phrases, appearances (fashion/costume) and even certain
genres of comics.
It was both the horror and murder mystery genres that were
considered an issue due to harboring excessive amounts
of gore and violence, and they were prohibited for a certain
period. It was because of the extreme amounts of violence
used in these comics that had concerned parents thinking they
were very inappropriate for young, impressionable children.
Meaning comics were considered a form of corruption.
The Comics Code Authority played a significant role within
comics industry, as we begin to explore Superhero comics it
will become clear how much it had actually affected the industry
overall. Characters such as Wonder Woman, Batwoman, and
Northstar, etc.. Were just some of the few examples that were
affected by The Comics Code Authority. The aim of this chapter
will be to gain further understanding of how male dominance
along with the Comics Code Authority affected particular
female heroes and even villains, in this case examples such as
Wonder Woman and Catwoman etc, together with an analysis
of sexuality through the use of gay superheroes i.e. Northstar
and Batwoman.

Created as a response based on psychiatrist Frederic

Werthams arguments from his book titled Seduction of the
innocent (1954), who since 1948 (before The Comics Code

These examples help to demonstrate the effects that had taken

place during the time of The Comic Code of Authority took
control of comics. And how in turn this affected groups such as
women and the LGBT community.
Theorists such as Mike Madrid, Tim Hanley and Lillian S.

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Robinson all of whom have examined Wonder Woman along

with a selection of other female icons, each discussing the ways
these characters have been treated over a period of time since
first being introduced to the public.
By using Wonder Woman and the Wonder Woman franchise,
this already helps us construct how male dominance together
with The Comics Code of Authority had significantly altered the
series over time. Examining the Amazonian princess herself,
the many alterations of her image had undertaken (specifically
targeting anatomy and costume), to the changes in personality,
all simply boiling down to her gender.
Created by Dr. William Moulton Marston in 1940, who,
unfortunately, died later in 1947, it becomes apparent how the
Amazonian warrior has started to show signs of regression.
By looking at the peculiar choices made by certain comic book
artists and directors, this immediately illustrates her regression
through so many transformations during period of four decades.
And noticing the alarming rate of revisions she had been through
when comparing back to her male counterparts Superman
(1933) and Batman (1939).

strong male who from time to time saved girlfriend reporter Lois
Lane, who was nothing more than a damsel in distress, who
could apparently be tossed aside and that would be the end of
it. Lather, rinse and repeat.
Unfortunately because of the untimely death of her creator
Wonder Woman, started to regress from her origins.
With the death of Wonder Womans creator, Dr. William Moulton
Marston went all of the messages of equality and love that were
meant to inspire young female readers. (p.186. 2009. Madrid)
As if she was taking a step back rather than forward, unlike the
many of the women outside the comic book world who were
fighting for their rights especially during the later 60s and 70s.
During the Liberation movement, women has grown tired of
their domestic housewife roles and fought for their freedom and
equality.

To begin lets examine Wonder Women since her big debut in

1941. She was a reaction to the onset of World War II. With her
star-spangled costume and crusade to crush the Axis powers,
Wonder Woman represented America more than Superman,
and Batman did [] (Madrid. P.185. 2009)
Intended to encourage young female readers participate more
in comic book culture. A strong, courageous and independent
female character, managed to reverse the stereotypical gender
roles typically seen throughout a number of superhero comics
during the late 30s and early 40s. Examples such as Superman,
which demonstrates the stereotyping of, gender roles. He was a

In contrast however, it seem that during the 60s Wonder

Woman wanted nothing more than to settle down and have an
ordinary life, this can be seen through the plot. She gives up
her superpowers and hero identity to live life as alter ego Diana
Prince.
From 1947 onwards followed the very years of Wonder
Womans decline from an inconsistent but unquestionably
liberatory icon into something quite different. (p.65, Robinson,
2003)
It is important to note, however, during the 70s more specifically,
1972. This was the year when Wonder Woman has been taken
back to her iconic feminist roots and was featured in the feminist
periodical, Ms. Magazine.
This raises the question why did the Amazonian princess go
through so many changes and iterations when compared to her
male counterparts? Out of the main three, why was Wonder
Woman the least memorable of them all? Taking a look at the
overall appearance of Wonder Woman, its interesting to see
how she had transformed through the years. This was mainly

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due to influences of the many art directors who had taken over
the franchise after Dr. Marstons death. It becomes increasingly
evident that many many male artists and creators did not share
the same forward thinking views as Dr. Marston originally had.
This demonstrated this through the decisions made on behalf of
the Amazonian warrior.
Referring back to Dr. Werthams criticism against the Princess,
accusing her of being a lesbian because she wasnt following
gender norms of how women should be in the 40s and 50s.
In turn causing her to regress, becoming nothing more than a
bland and often a forgettable character. Considered to be the
most iconic female hero of all time and yet what we ended up
with was one, which was more or less confused.
Taking a look at the damsel in distress tropes discussed earlier,
it was obvious Dr. Marston intended to reverse this with his
interpretation of a damsel in distress; this was in the form of
Col. Steve Trevor. Marston created Steve as a parallel of how
women were usually portrayed in classic American hero comics,
almost as if he was suggesting men could be just as vulnerable
as women, and that women could be just as strong as men.
Steve Trevor, although he was a colonel in the army, he had
proven to be useless throughout the original comics.
Many critics called Steve Trevor a male Lois Lane since
wonder woman spent as much time rescuing the army colonel
as Superman did saving his snoopy reporter girlfriend. (P.193.
Madrid.2009)
But once the wonder woman franchise had been taken over
by a string of new comic and art directors, immediately this
highlights shift taken by both Wonder Woman and Steve Trevor,
regressing back into the typical gendered stereotypes.
Steve, the military man, is eager to consummate their
relationship, conquer new territory, and put Wonder Woman in
her place, which presumably was the Kitchen. (p.189. 2009.
Madrid)

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It could be said that this was because many male creators

within the comic book industry during the 1930s through to late
80s, were still stuck in a sexist, misogynistic and stereotyped
mindset. Suddenly, Wonder Woman had gone from feminist
fighting icon to a weak damsel in distress. Which affected the
Amazonian princess image drastically, she had now become
the very thing many women have come to despise.
After analyzing these examples, a question starts to emerge;
do female audiences not deserve strong female role models in
comics who are just as extraordinary and amazing as their male
counterparts? Are male comic creators, artists, and scriptwriters
really capable of understanding how to approach and appeal to
a female audience?
Initially, it does seem that male comic creators had no intention
or any idea of how to attract or accurately represent a female
audience at all. It has only been from the recent years that this
has been possible, but through the efforts of women comic
creators who fought for their rights through comics.
Moving on with an exploration of gender and sexuality through
a racial/cultural perspective, using a mixture of superhero
characters along with others outside of this genre. Investigating
how multiculturalism is utilized in terms of representation of
gender through culture. Theorists such as Sheena C Howard
and Frederick Luis Aldama will be used throughout this portion
of the argument. Sheena C Howard (2013) a scholar who has
been investigating gender primarily through a study of gender
and race.
His observations suggest ideas of manhood/masculinity,
specifically through Black culture, Howard debates primarily
on black males, ways in which they demonstrate and display
masculinity to an audience within comic books.
His analysis of the comic strip series The Boondocks
(1999-present), created by Aaron McGruder, later becoming an
adapted animated television series in 2005. A story that follows

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twins Hewie and Riley living within a white suburban area

and experiencing a number of issues among the community
between white and black people.
From this, we can examine the issues within this series through
the male and female dynamics within the black community.
This will be compared to the similarities found in the superhero
genre but investigates what is exclusive to the culture itself. How
this also displays ideas of male dominance through gender and
comics.
Scholars have explored the connection between Black
masculinity and slavery, the expressivity of black males in
sports and the historical underpinnings of hyper-masculinity
(Jackson 2006; Brown 1999; Hill 2005; Neal 2005). (Howard,
2013,p.152)
Again we can use this to understand how women, in this
case black women have also undergone a constant process
of misogyny and sexism. Almost identical to the concepts of a
damsel in distress, however it appears that women within The
Boondocks series are not needed.
A strong black female voice is omitted even as the strip deals with
significant and relevant issues on politics and race. This in itself
symbolizes hegemonic black masculinity, which subsequently
trivializes the black female. The Boondocks creates a world in
which the black female is not needed or represented. (Howard.
2013. p.162)
Again implying women are unimportant like that of the damsel
character in hero comics, similar to how the treatment of Lois
Lane through the Superman series, however, in the case of
The Boondocks, it seems that black women are hardly ever
present.
In over 200 strips the presence of the black female voice is
non-existent, yet humor is directed towards Black women on
several occasions. (p.160, 2013, Howard)
In this case, black males are like that of superheroes, showing

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that black men are more significant or dominate within their

own race. But throughout the strip Black people still seem to
be considered below white people, even with Main protagonist
Hewie
To begin analyzing manga and gender representation, we must
refer to history to help piece together gender ideas through a
manga narrative. Through the analysis of Kabuki, a traditional
Japanese theater company initially started by Okuni, a female
shrine attendant; this art form has traces back to the Edo period
(). A traditional art form, which still currently runs, however it will
play a fundamental role in examining how gender dominance is
treated especially within Japan and Japanese pop culture.
Kabuki was performed originally by an all-female cast of
actors, this was until later on during the Edo period a restriction
was placed on women forbidding them to perform by the
Tokugawa Shogunate. Primarily the reasons, for banning
female performers, was due to their sensual acts as they were
also prostitutes, this caused a lot of uproar among the male
audiences. In turn this lead to having an all male cast instead,
this tradition has been kept up ever since.
According to theorist, Susan Napier, there seemed to be quite a
distinct contrast between Japan and the U.S. through the comic
distribution and approach to genres and more adult narratives.
When examining Japanese pop culture, dominance is found
throughout both sources of anime (Japanese animations)
and manga (Japanese comics). Susan Napier suggests male
dominance is explored through a range of genres within
anime more so than manga, yet this still applies to the comic
counterparts used throughout this dissertation. The downfall of
using Napiers arguments, however, is looking at the animated
version, which usually tend to vary from the original story of the
manga version itself. But, this will not affect the argument, as
most of the ideas Napier discusses are still relevant.

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Using Napiers investigation into genre of Hentai (originally

meaning pervert but is now referred to the pornography),
specifically for this portion of the argument, she references a
selected number of animated series instead of manga. Although,
the points brought up in her discussion of male dominance
portrayal within the genre itself is interesting.
More than any other genre (with possible exception of horror,
with which it is often linked), pornography brings the body to
the fore, not only in terms of sexuality but also in relation to
aesthetics [] (p. 64, Napier, 2009)
Demonstrated through many series such Twin Dolls and La
Blue Girl each display the use of graphic imagery and violence
used against female characters. Whilst still bringing the nude
female body to the forefront of each story. It is also interesting
to note that Napier discusses the use of male characters being
portrayed as monsters, rather than humans in some cases.
In contrast, the male body is usually limited to a few very different
types, the two most frequent of which are comic voyeur and
the demonic phallus incarnate (p.65, Napier, 2009) suggesting
that male character are not as important or the primary focus of
this genre.
Almost, similar to The Boondocks comic strip its lack of Black
women present throughout. Hentai shows men although
present; still seem to be less of a focus when compared to their
female counterparts through this genre.
Female bodies seem to be the main interest in Hentai. At first
glance, it does come across women are just considered and
treated as objects. Upon further research, however, it seems
that women can be just as equally powerful than men.
Japanese pornographic animation tends to depict the female
body in an often contradictory variety of ways. Frequently, the
female body is indeed an object to be viewed, violated and
tortured [](page 65, Napier, 2009)
It seems that there is a lot more to this genre of storytelling

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than just what we see on the visual surface. Still trying to have
serious stories and adventures but explored in a more sexual

Fig.1: Right The Coimcs

Code Authority logo.
Fig.2: Bottom
Advertisement feature
Comics Code Authority.

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Fig.3: Fredic Wethams

Seduction of the Innocent
1948
Fig.4: Below,Psychologist
Fredic Wertham.

Fig.5&6: A selection of Crime

comics during the 1940s.
Fig.7: An example of Horror
comics from 1940s

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Fig.8&9: Left Dr. William

Moulton Marston. Below,
image displaying the
many incarnations of
Wonder Woman.

Fig.10,11&12:Above,top right
and bottom right are covers of
Wonder Woman from different
points of her changes through
the years.

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Fig.13: Comic strip from comic The Boondocks.

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Fig.14 &15: Right, image

of Kabuki perfomance
using all male actors.
Below, image of male
actor applying making
for a perfomance.

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Chapter Two
Aesthetics &
Apperances

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nalyzing the appearance of characters in comics from

either culture it becomes quite clear once deconstructing
these examples how this can create a number of
issues regarding gender. Aesthetics contributes a great deal
especially towards gender representation through the medium
of comic books. This chapter will explore both the similarities
and differences of each culture, using selected examples
along with few others being brought into this discussion.
Investigating stylistic choices made in comic books, by using
a small selection of characters from both varieties of comics
and manga. Analyzing the styles themselves and how this
can be problematic when concerning gender representation.
Taking a critical approach towards areas such as anatomy and
style, the many criticisms against specific characters and their
anatomical representation. And by using a feminist perspective
to investigate these glaring issues.
Feminism plays a key factor in this discussion, as we will begin to
focus our attention on how this has affected the comics industry
as a whole. Predominately seen more within American comics
than in manga however, this shouldnt suggest that feminism is
exclusively a western luxury.
Styles from either culture; each share distinct and recognisable
style, identified through particular features and common trends
used by comic artists. However, each side presents certain
problems especially when a female character is concerned.
This is through a number of elements, but the main point of this
argument will be looking at the anatomical problems presented
within comics and manga. The differences and similarities and
how this is treated.

physicality, how these have been affected over a certain period

of time.
Beginning with a look at American super hero comics, crossdressing and gender bending are used within stories. But,
compared to manga they are used differently. Taking into
account extracts from hero comics such as Runaways (figs &.)
and Red Tornado (figs &.) each display a use of transformation,
but for different reasons.
For instance, Runaways (2005) uses gender transformation
through the concept of sexuality and identity, as hero and shapeshifter, Xavin, originally is seen as male until meeting Karolina.
Because of this Xavin realizes that she is both female and a
lesbian. Compared to Red Tornado (1939), which features
the concept of transformation through the use of disguise. Red
Tornado disguises himself by dressing up as female when out
of costume and being referred by the name of Ma Hunkle. This
form of gender transformation uses the art of cross-dressing
to demonstrate the concept. Such as the examples from Fig
and , illustrating this, almost similar to the concepts of Kabuki
theatre. A male character taking on the appearance and form of
a woman through the use of clothing to alter their appearance.

Cross-dressing is explored within the realm of super hero

comics but when compared against its Japanese counterpart,
it is utilized differently in terms of theme and story. Looking
at how it is used and why? Again examining characters like
Wonder Woman will help us to gain a better understanding
of appearances through both the use of costume and the

Moving on to the investigation of characters in Western super

hero comics through the anatomical appearance, there have
been a number of criticisms against this (along with costume
problems) of well-known characters. Usually seen more when
examining female characters, yet there are many examples
from our male counter parts i.e. fig showing a disproportionate
drawing of Captain America. A number of hero comics tend to
fall under this problem, take for example, the cover illustration of
Marvels Spider-woman series (fig.16), illustrated by illustrator
Milo Minara. This cover had received a huge amount of criticism
especially when taking into account the female audiences who
engage with super hero comics.
For females, this where the sexual double standard of comic
books comes into play. Super heroines are presented in a highly

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sexualized way. (Woods, 2009, p.246)

It is worth mentioning, that artist Minara was also an erotic
illustrator, however, should this really excuse the exaggeration
and unrealistic anatomical features of the character? Even, if
comics have a range of styles and exaggeration of features
especially when regarding the body, it should still be presented
showing some form of understanding and knowledge of how
the human body should connect together, regardless of how
exaggerated the features are. Relating this back to Kabuki,
it could be seen as a similarity in the exaggeration of the
anatomical features of a character.
However, in regards to female characters from certain adult
genres, the exaggeration of particular parts of the body isnt
necessarily used for comedic purposes (Although at times
they can be depending on the story and genre). But, it can be
said that this is more common within manga in terms of using
anatomical features in such a comical display, rather than being
taken seriously.
This raises the question; is this what male readers are looking
for in female characters, rather than having an actual personality
and realistic interpretations of the body? And in turn how does
this revoke reaction from the readers themselves, especially
female readers?
Gender bending doesnt seem to be as much of a common theme
used within American comics when compared to its Japanese
counter part. However, there have been many examples of
gender bending used to explore the characters sexual identity.
Similar to manga in some cases, it is used differently, here the
character has a choice to choose their gender, whereas most
protagonists in manga who have their gender changed isnt
necessarily through his/her own free will but it is usually forced
upon them by outside forces. Whether they have control over
it varies for each story, yet it still remains the same. Characters
are changed through forces outside of their own control.

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Ranma and a cheeky angel are just some of the examples

in this discussion that demonstrates gender bending by forces
outside of the characters own control, these are used differently
within each story however, are similar in terms of how they
are used to drive the narrative along. Lets begin to examine
extracts from each story and compare this back to our hero
counter part(s).
Tenshi na Konamaiki or A Cheeky Angel (1999-2003), as it is
known in English, is actually a shonen (boy) manga (not shojo)
which follows, 15 year old Megumi Amatsuka, a beautiful
tomboyish girl, who claims she was originally a boy. The story
revolves around her and best friend Miki Hanakain trying to
reverse her back into a male, after being transformed by a
magician who apparently misheard her.
The premise of the story is mainly because of outside forces
controlling the characters gender, but even when compared
to Ranma , Ranma can technically control his bodily
transformation, whereas, Megumi has been permanently
changed into a female. On the other hand, her eyes are more
almond-shaped, like those of the male lead Genzo Souga, and
in the traditional conventions of manga drawing style this places
her in the sphere of masculinity in Japanese manga. (p.162,
Woods, 2010.).
Woods suggests even the style of how the manga is drawn in
also relates to the ideas of gender of the character Megumi.
As cheeky Angel is a Shonen manga and not Shoujo, Woods
implies that the creators style choice especially regarding
Megumis almond-shaped eyes suggest a more masculine
approach rather than feminine. Even when looking at the
interaction between Megumi and best friend Miki, Megumi
seems to display behaviors associated with either gender.
Megumis relationship with Miki is particularly compelling, as
Megumi clearly acts out both male and female gender roles with
her(p.162, woods, 2010).

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Androgynous characters also seem to be more common among

Japanese comics in contrast to American ones, although they
are still used. For example Chrona (Soul Eater, 2004) in fig.
is an interesting example of androgynous types of characters.
Even though, through translations of the Japanese text when
converted into English, it usually refers to Chrona as male by
using he pronous. There have been a few occasions of this
being the opposite. Whats even more intriguing about this
character, is that the creator, Ohkubo Atsushi themselves
doesnt actually seem to know which gender Chrona is suppose
to identify under.
Other examples when referring back to our hero counterparts
are also seen within the series X-men, looking specifically at
characters mystique and Destiny. Mystique in particular is an
interesting example, another character being able to shape
shift at will and choose her identity (much like Xavin) rather than
having outside forces change it for her.
Introduced in 1978, created by artist Dave Cockrum and writer
Chris Claremont. Originally, she was a shape shifter terrorist
until the change in 1980s; the comics had hinted that these
two characters had a more intimate relationship together and
originally it was said that Mystic originally identified more as
male than female. However, because of The Comics Code
Authority this was scrapped.
[] Understanding two related stereotypes surrounding comic
texts and readership: first, that comics are dominated by the
superhero genre, and women in this genre usually come with
unfeasibly distorted anatomical features; second, as a real
woman and not a fantastically large-breasted character, this
female reader is out of place in the masculine realm of the
comics store, whose natural denizens are the socially inept
male readers of superhero comics. (p.135. Williams.2010).
Again looking at many female super heroes and villains we can
start to find a recurring pattern. Take for example Catwoman

38

(fig.), considered an anti-hero rather than a hero or villain.

Catwoman was a thief, who uses her sexuality and gender to
get what she wanted. And since she was a thief and a criminal
it was seen as more acceptable for her to be drawn in such a
promiscuous and sexualized manner. Madrid, had suggest that
it was female villains and femme fatales who were the only
women getting any action in the bedroom were villainesses
(Madrid, 2010, p.246).
This meant that Catwoman was able to be portrayed as a
seductive and flirtatious character as she wasnt a hero, she
was a character created for the intended use of distracting
Batman. But, just like Wonder Woman, Catwoman eventually
found herself altered through the Batman series, to the point
where she was absent for a period of time.
Although we are examining American superheroes and
Japanese Shojou manga for this discussion, comparisons can
still be made through other examples outside of this, for instance,
briefly looking at British girl comics within the 60s and 70s. There
was a huge popularity among the concept of transformation
and magic used during this period. Even examples through
the Archie comics (created by John L.Goldwater in 1939),
specifically looking at stories which involve Sabrina the teenage
witch, used this concept of magic and transformation as a way
of exploration of gender. For instance, take this image below of
the alternate universe in which Archie has now become female.
In fig.22 and 23 We can see a clear example of how when
gender swapping male characters into female ones alters both
the appearance as well as feel of the comics. Just like the sideby-side comparison of these issues, on the left we have the
original Archie, with a very masculine or boyish colour scheme
such as the Read and black use for the Title. And comparing

39

Fig.16: Above Spider-woman cover drawn by artist Milo

Minara.

40

Fig.17: Cover from Spiderman issue 601 drawn by J.

Scott Campbell & John Romita Sr.

41

Fig.19: Left image of

main character, Megumi
Amatsuka taken from
series, A Cheeky Angel
(1999)
Fig.20& 21: Bottom left
and right, extracts taken
from manga, A Cheeky
Angel, (1999) pp. -

Fig.18: Image taken from Captain American drawn by

Rob Liefeld.

42

43

Fig.22& 23: Top &

bottom left Extracts
from Archie comic
series, featuring a
gender bent alternate
universe.

44

45

Chapter Three
Sexuality &
Identity

46

47

Sexuality has become a popular theme through comics,

although it could be said from observation around comics,
manga has a tendency to explore sexuality and identity far more
frequently, compared to its American counterpart. However,
sexuality is still a theme explored within western comics, and
now can been seen as something normal, its approach to the
subject however, differs from Japanese manga.
By taking into account how The Comics Code Authority
affected western media, primarily comics, it becomes quite
apparent how this had affected and shaped super hero comics.
Especially when directing the focus back to the American super
hero genre.

Toni-Johnson woods (2010) argues around the exploration of

gender in manga through the use of female characters. We get
an exposure of how the women are presented to an audience,
dealing with depictions of sexuality between main characters

and using devices such as gender bending. Comparing back to

Napiers arguments of gender treatment through Hentai
Woods (2010) examines this narrative device within manga/
anime than cartoons and comics in terms of the story telling.
This narrative device to explore gender depiction is a huge
contrast to the presentation from that of American and even
European comics/animation. Woods implies that this is an
interesting observation of how fiction can be used to create a
better understanding of the female gender.
To some extent, the performance of gender bending and diverse
experimentation invokes the feminist pleasures, discussed by
Sue-Ellen Case (1990-1-7). (Woods, 2010, p.159)
Shoujo manga will be used to help the exploration of sexuality
and identity; this genre has become quite popular both in Japan
as well as over seas. Shoujo meaning girl is a genre of manga
aimed typically at young girls. Comics made for women by
women. The manga company CLAMP is a brilliant example of
female artists, who create stories that cater towards a female
audience, which will be discussed in more depth through a later
chapter. The stories typically explored within this genre revolve
around concepts such as magical girls i.e. Sailor Moon, female
protagonists and romance or gender bending of characters and
even BL (boy love) manga.
Although, according to Tania Darlington and Sara Cooper
who investigate sexuality and gender within manga state
that Japanese manga have repeatedly and openly dealt
with a wide variety of gender expression as well as a range
of manifestations of same-sex love (page 157,woods, 2009).
Despite this however, there is still a huge gender issue within
Japan regarding traditional views of the subject.
When compared to American comic books, even though same
sex love and gender is explored within manga, there are still
seems to be a huge restriction on gender and tradition in Japan.
For this chapter however, the attention will focus on each of
these aspects but some more than others. Starting with the

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49

The rules from The Comics Code Authority played a significant

part in the altering of American Super heroes, regarding a
number of problems. Issues such as racism, sexism and
homophobia will be highlighted when examining each example
that had undergone changes.
Especially when examining the portrayal of homosexual
characters, we can see how begin to understand why The
Comics Code Authority had affected the representation of
characters for the LGBT community.
Northstar (fig), is a good example of this, his sexual identity
had been implied during a number of occasions but also kept
vague during the time The Comics Code Authority was in
effect. Originally released in 1979, Northstars sexuality had
been hinted at many times during his appearance through the
comics. But because of the The Comics Code of Authority had
still be in affect, this had caused the character to suffer the lack
of proper sexuality representation, due to being censored.

magical girl concept, stories such as Sailor Moon, Revolutionary

Girl Utena, Ouran High School Host Club and Ranma .
Sailor Moon by Naoko Takeuchi (1991) is an interesting
example of shoujo, a story about a ordinary teenage girl who
acquires magical girl powers and turns out to be the savior of
the universe, sailor moon presents interesting examples of both
sexuality exploration and gender bending transformations used
as a form of empowerment.
Take for example when focusing on Sailor Moon, as the story
progresses Usagi encounters a boy band group. But, the
members of this band are not just ordinary men; they are also
sailor scouts just like Usagi and her friends. However, their
transformation sequence is different from the main protagonists,
this is because they change from men to women to fight against
enemies.

specifically boy love stories are an way in which female fans

can form strong homosocial ties as well as explore aspects of
their sexuality and identity, aspects they might not have given
much thought to before coming into contact with BL (sugimoto,
2014) She is suggesting that female fans of the boy love genre
are able to explore their sexuality through the use of male
characters which display more feminine traits. Using manga a
safe gateway into exploration of themselves as an individual
and what resonates with them. A tool essentially, that can
help young audience members explore and understand their
sexuality and identity.

Jessica Bauwens-Sugimoto states that shoujo manga, more

Although, even with Boy love (shonen-ai) and yaoi manga

getting their own genre along with its rise in popularity both
within Japan and overseas. It raises the interesting point of why
boy love seems to be more appropriate when compared to girl
love comics (yuri or shoujo ai) both forms are widely distributed
and historically have been more accepted than yuri. (Page
160,Napier, 2009) Woods continues to suggest the reason for
the popularity or acceptance of BL comics is mainly due to
[] The fact the protagonists are men and boys, meaning they
are experiences as fairly traditional in terms of gender roles and
expectations. (Page160,2009,Napier)
Turning our attention to examples of gender bending through
cross-dressing, Ouran High School Host club is a brilliant
example of this. A shoujo manga originally written by Hatori
Bisco, a story about a commoner student, Haruhi Fujioka
becoming part of an all boy host club at a prestigious academy
in order to repay back her debts for breaking an expensive vase.
The basis of this story follows Haruhi and her new friends
through a series of slice of life, comedy and shoujo romantic
scenarios. And even through out the story we tend to find
examples of gender and how specific characters still seem hold
very traditional views on what a girl should be.
The example from this particular page of the manga

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51

Another set of characters worth mentioning from the Sailor Moon

series is Sailor Neptune and Sailor Uranus. Out of all the sailor
scouts, these two actually have an implied romantic relationship
between them. An interesting side note when looking at the
animated version of the series, especially in terms of the English
dubbing, which raises an interesting point about sexuality.
Originally, implied to be lovers from the Japanese version,
it was quite interesting to see how this changed once Sailor
Moon was introduced to an American audience in 1995, whats
interesting is the fact that the dub itself changed the relationship
between Sailor Neptune and Uranus, from lovers to cousins.
Again, this could be seen as a form of censorship, especially
when looking at it from a cultural perspective. The Japanese,
despite having rigid ideas of what a man and woman should be,
they still seemed to be more welcoming and accepting of this
than the U.S.

demonstrates the main male lead Tamaki (on the right in the first
panel), although being used for a comedic purpose; he wants to
see Haruhi be more feminine. Almost as if a small commentary
on what a male or female should look like. It could be said that
many readers can disagree with Tamaki and side with Haruhi.
A later example of Tamakis traditional views of gender again
emerges during volume 3. The host club members take a trip to
a private beach, later on during the chapter Haruhi encounters
a group of men badgering two girls, she tries to help the girls by
confronting the men herself. This in turn causes Haruhi to get
in a fight resulting in her being pushed off the edge of the cliff
and falling into the ocean. Saved by Tamaki, he immediately
questions her and begins to tell her how although she is female
she should have asked for help. Haruhi immediately retaliates
by stating that it shouldnt matter whether or not she is a girl
and they were boys. She states that she had to do something
and that gender didnt really matter. Almost a small commentery
on gender and why it really shouldnt matter in any every day
situations; people should be able to look, dress and act how
they feel and be comfortable with themselves rather than what
society deems the gender norm or ideal.
Another element to Ouran Host Club is the use of bishonen
(beautiful youth) boys. The story itself goes full out in exploiting
each example and tropes that common among this popular
category of characters.
Each character is a representation of this character trope. The
whole series tends to play on these and even make comedic
use of them from through out.
According to theorist, Judith Butler, it can be said that authors
for manga could possibly be using the medium as a way of
challenge the norm of gender within society. Especially, with
how rigid Japanese society still seems to be around the issues
of identity and gender. It could suggest that manga is a platform
to directly challenge notions of being male or female and what
is considered expectable. Butler looks at the idea of gender

52

especially within media as being a constructed system.

Revolutionary Girl Utena (originally created in 1996) is a wellknown and very popular shoujo manga series revolving around
second year student Utena Tenjou. The story follows Utena a
girl who was inspired by a prince and wanted to become one
herself. Instead of the clich of becoming a princess, she has
taken it upon herself to be more like a prince; this is demonstrated
immediately from the use of clothing.
From the very first few pages of the manga series (and even the
opening scene from the animated version) immediately, Utena
has attracted attention and disapproval from the teachers for
her uniform.
However, the reasoning behind Utenas choice of clothing is due
to her wanting to be more like a prince, instead of a princess.
Utena chooses to wear this tailor made male uniform as she
states herself it feels more comfortable, she wears this outfit
to show strength and gives the impression of being someone
who is regal and prince like. As if to suggest she wants to be
the protector of other young princesses (as this is used in the
manga to define males and females at certain points of the
story).
During the duration of the manga, she is a student at a highstatus and prestigious school. Where she ends up involved in a
numerous amount of sword battles with members of the Ohtori
student council, because of this she is then wedded to the
Rose bride, named Anthy.
Before Utena comes onto the scene, Anthy has been won
and wedded by several male council members, who have had
the right to demand any and every service from her; thus, the
background of the story is an extreme manifestation of rigid
gender roles in which a woman ultimately is subservient to male

53

needs. (Woods, p.164, 2010)

Looking at another example of gender transformations and

gender bending, we can begin to analyze Ranma . A story of
a young martial artist boy and his father falling into a magical
lake and being cursed to change when they come into contact
with both hot and cold water.
Although, Ranma uses a lot of the gender bending examples
for a more slapstick, comedic effect, it can still give insight to
certain ideas of how ridgid Japanese society seems to be even
within the fictional world of Ranma .
A clear demonstration of gender traditions can be seen through
fig 36,37& 38 all of these display how rigid gender is still in
Japan. This is seen through the criticisms against character
Akane, as she is considered to be the most tomboyish out all
three of her sisters. She is told that she is weird, because she
enjoys training and Karate. This is also seen again when Akane
and Ranma (when still in female form) have a practice fight,
Ranma wins the fight and Akanes response is intriguing. Stating

Fig.25: Above, manga series Sailor

Moon (1991)
Fig.26: Top right, manga series
Ranma 1/2 (1988)
Fig.24: Bottom, Ouran High School
Host Club, (2003) cover
Fig.27: Bottom right, manga series
Revolutionary Girl Utena (1998)

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55

Fig.30: Sailor Neptune & Sailor Uranus seen together in

later chapters of the Sailor Moon manga series.

Fig.28&29: Sailor Starlights from series Sailor Moon.

Both in male (above) and female (left) forms.

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57

Fig.32&33: Left Ouran High

School Host Club, (2003),
pp.31 Vol 1, c1 & Right
Ouran High School Host
Club, (2003), pp. 68 Vol 1,
c2.

Fig.31: Love Hurts example of BL (Boy Love) manga.

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Fig.34: Bottom Right, Ouran

High School Host Club,
(2003), pp.31 Vol 3,c8.

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Fig.35: Shoujo Kakumei Utena, (1998), p.6

60

Fig.,36,37& 38: Left Ranma

1/2, (1988), p5 & right Ranma
1/2, (1988), p6 & bottom right
Ranma 1/2, (1998), p22.

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Chapter Four
Fan Culture

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63

inally, fan culture will be the last section of this discussion,

examining fan engagement through comics, along with
other forms of pop culture, considering how a large
number of people respond towards issues regarding gender.
Using examples such as cosplay (along with crossplay), fan
art, fan fiction and self-publication, this will help gain a better
perspective as to how this has shaped the arguments around
gender and comic book culture. However, other platforms of pop
culture i.e. video games, films etc, will be referenced throughout
this argument.
To begin, lets explore Cosplay (along with Crossplay), as this
will be a key focal point through out this final chapter. Examining
the nature of cosplay, how this is considered a form of active
participation and creative expression when looking at gender
through comics and pop culture. Following with an examination
of fan engagement such as fan art and fan fiction, looking at
how these are utilized creatively when focusing back to the
subject of gender and sexuality.
Costume play or Cosplay as it is commonly known, is a form
of role/identity-transformation from an ordinary person to an
super hero, from a game player to a performer, and from
adulthood to childhood. () Meaning, fans can escape the
stress of daily life, through the use of performance and roleplaying of well-known and adored characters. Through this
participatory activity, cosplayers can momentarily escape from
reality and enter into their imaginative world (Norris, 2009,p.33).
In other words, fans can explore identity through imagination
and by transforming into the characters they identify as well
as connect with the most. Safely exploring identity through the
use of role-playing and dress up.

participants pleasurable experiences, meaningful memories,

self-gratification, and personal fulfillment. (Norris, 2009, p.)
Cosplay has usually been associated more with Japanese pop
culture i.e. manga and anime, but, has extended to western pop
culture. Allowing people to dress as either their favourite manga
or comic book characters. Even dressing up as characters
through other forms of pop culture such as video games and
movies. Such as the example from Fig. showing a fan dressed
up as well known Pokmon character.
Indeed, manga is one of the primary sources for cosplay
identities: Gekiga (e.g. Ninja Bugeicho), Shonen (e.g. Dragon
Ball), and shojo (e.g. Sailor Moon) are popular choices among
cosplay enthusiasts (Norris, 2009,p.33).

A popular platform fans use to show their support along with

creativity for particular characters and stories. A gateway into
allowing fans to meet and connect with other people who
share similar interests. It is evident that cosplay can give

In spite of this, cosplay doesnt mean necessarily dressing up

as a characters of the same gender;
Through cosplay, the identity of a person can be transformed
[], from an ordinary person to a celebrity [] changing identity
of performativity is a magic wand or time machine which can
offer excitement, contentment, escapism, and empowerment.
(Norris, 2009, p.334)
Crossplay (a term combing the words cross-dressing and
costume play. Cross-play), usually involves fans (of either
gender) to dress up and performing as characters of the
opposite sex i.e. men dressing up as female characters from
popular series Sailor Moon. Such as the example seen from
Fig.41 and Fig.42.
Usually, this a common trend among male cosplayers.
Suggesting cross play allows a passage, or gateway for fans to
perhaps explore their own gender identity or sexuality through
the use of fictional characters. Or in most cases it could be seen
as a way of rebelling against traditional gender norms.
Both Cosplay and crossplay share similarities to Kabuki, for
instance, male cosplayers (just like the male actors) perform
as female characters (as well as male characters) instead,

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suggesting that crossplay is similar to Kabuki in which a male

fan (and even female fans) can engage and pretend to be the
opposite sex through the art of dress up. Again, using Kabuki,
we can compare this with another connection found in cosplay,
especially when examining how cosplayers interact with one
another.
Just like a theatre company, a group of strangers essentially
meet, interact and perform together; cosplay demonstrates this
very well through group photoshoots. Allowing strangers from
all over the world to meet in a public settings (whether it be at a
convention or fan organized events) being able to communicate
and connect with one another through their enthusiasm for
particular pop culture. Performers may enjoy the pleasurable
moments being looking at by spectators, or they may be
obsessed in objectifying themselves. (Norris, 2009,p.334).
Putting cosplay into context of being involved with the actual
production process, in this case through video games,
specifically, when looking at series Bioshock Infinitate (2013).
A cosplayer was able to inspire the final design of leading
female character, Elizabeth Comstuck. The original design of
the character had in fact inspired the fan and Russian cosplayer
enthusiast, Anna MoLeva (Fig.43), which in turn lead her create
her own rendition of the character. Due to the use of social media
sites such as Facebook, we see the popularity she gained for
her likeness of Elizabeth, this in turned managed to get her hired
by Irrational games team themselves because of her uncanny
portrayal of Elizabeth from Bioshock infinte really brought her to
our attention (IG.Ken, 2012). This is a fascinating observation,
seeing a fan involved in the design process rather than just
engaging with the final product itself. It could be said that this
in turn helps influence the development of pop culture through
use of fan engagement within the creative process.

fan or a fandom (a group of many individuals who enjoy the

same type of content) to be able to communicate their ideas
and responses towards films, games and comics etc. This
allows people to connect not only with others who also enjoy
these stories, but to also be able to communicate and in some
cases interact with the creators directly themselves.
Fan art and fan fiction are good examples of how people have
responded to certain topics in pop culture. Referencing back to
the concept of gender bending, analyzing ideas such as rule 63
(an internet meme, which suggests that every male character
has a female counter part.). A rule where an artist, writer or
cosplayer must take their favorite character and gender swap
them by redesigning them as either male (if originally female)
and vise versa. This is an interesting process, a chance for
fans to project their own interpretations of characters, in a way
illustrating what could have been instead of what already exists.
Demonstrating the fascination by fans on the concepts of gender
bending and how this allows more flexibility and diversity when
regarding representation of genders and communities as well.
Take for example the image from fig.44; drawn by artist, Miyuli
and their interpretation of a gender swapped version of one of
the Disney princesses, Cinderella.

Cosplay is not the only method for fans to connect with pop
culture. Fan art and fan fiction are another activity, allowing a

Although, there have been criticisms of gender bent designs.

Take for example these detailed digital illustrations of Cruella
De Vil (fig.45) and Maleficent (fig.46) by artist Sakamichan.
A popular digital artist who created a whole series of gender
bending famous well-known Disney characters. Despite having
received a huge amount of praise and positive feedback. There
was also an equal amount of negative feedback; a number of
fans seemed to show a huge dislike to these designs specifically.
The issue with these interpretations is when compared to the
original official designs of the characters; they look and feel
more sexualized. Especially when looking at Cruella De Vil
among other characters they have drawn. Looking at this fan

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67

interpretation already we can see how the artist has created a

much younger, trendier, sexier version of the character.
Gender bending through manga tends to be interesting through
both published stories, to fan creations. Especially, when
focusing on male characters changed into females. There is
usually a trend where gender bent males turn into either very
cutesy young girly girl type, or the busty, sexy and older looking
type. Soul Eater (2004) demonstrates this very well. Soul
(fig.47) has been transformed into a very cute and feminine
girl. Usually, when looking both fan art and official art from
these stories. There seems to be a trend of transforming male
characters into either cutesy or very young looking girls, or, into
mature and sexualized women.

Although, gradually gaining more representation in mainstream

comics from well-known publishers like D.C. and Marvel,
in comparison to Japan, it still seems to be quite a slow
progression. Looking at this from a more independent approach
however, we can begin to understand how fans can create work
to create both a statement as well as increase the amount of
representation of certain groups of cultures or people.
Usually, this is through the use of crowd funding websites such
as Kickstarter or indigogo. These are more recent platforms
from social media which help push out and produce more
diverse stories out into the public, whilst still being able to draw
in a number of interested fans. This can be considered the
equivalent of the doujinshi format of manga.

Moving on to the next aspect of fan culture and participation.

Examining fan created content and doujinshis (Japanese fan
made comics). Doujinishi specifically speaking is a term used
for when fans of a fan created manga series, usually using well
known manga stories as a base for creating their own content.
Taking well-known characters from popular series and creating
their own stories from them. The common tropes types usually
found in fan work involve humor, romance or explicit erotica.
This has actually led fans to gain recognition and become
published manga creators a good example of this is the wellknown manga company CLAMP. Originally started in the mid
1980s by a group of doujinshi arts consisting of only female
creators, CLAMP has become a well-established manga
franchise within Japan. The main creators (fig.55) Satsuki
Igarashi, Tsubaki Nekoi, Ageha Ohkawa and Mokona were all
originally school friends who had joined together and started
making comics. This includes well-known titles such as
Cardcaptor Sakura (1996) fig.54 and many more.

Finally examining a fans response, we will begin to examine

how people also retaliate against certain comics and try to
demonstrate how ridiculous and unnecessary some elements
can be regarding the gender of a character. Referring back to
chapter 2, there have been a number of responses towards
female super hero characters in western comics, particularly
looking at how comic book enthusiasts respond to how the
character is either objectified through use of costume or from
the anatomical errors made by well known comic book artists.
Initially, fans approach this by either making fun of the actual
pose by posing themselves or for instance looking at the cover
of Spiderman featuring Mary Jane in a very unrealistic pose
(fi.49). Or by drawing over the original image or recreating the
covers themselves. Artists tend to draw over or try to improve
the original cover illustrations and panels. Taking for example
the image of Spider-woman cover (fig.48) explored previously
through chapter two, drawn over by illustrator, Karine Charlebois.
Showing a side-by-side comparison of the original illustration by
Milo Minara (left) and the redrawn version by Karine Charlebois
(right). A glaring issue that has been critised a numerous amount
of times, yet still seems to occur time and time again.

Tying this back to western comics and fan culture. We can start
looking into how people use comics and fanzines to get their
work published and share their statements across the platform.

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69

An amusing approach taken towards these representational

problems, but there is another tactic taken on by fans to
retaliate against sexist, objectified and unrealistic covers and
illustrations. Comic artist, Gingerhaze, created tumblr blog The
Hawkeye initiative in response towards poorly drawn female
characters through hero comic books. Her aim behind this
blog was to allow anybody to take a well-known comic book
cover, featuring ridiculous anatomical errors, costumes or
posing (or a combination of the three) and replace it with the
character Hawkeye (or any other male hero character). Again,
a comical response from fans, demonstrating the frustrations
of objectification through using a male character to pose and
create a statement of the level of ridiculousness found in Hero
comics.

Fig.41&42: Top right & Bottom

examples of crossplay of well
known female characters.

Fig.39: Bottom left,

example of people
Cosplaying American
comic characters from
the Batman series

70

Fig.40: Bottom right,

example of cosplay
of well known manga
characters, from series
Pokemon.

71

Fig.44: Right
Genderbent Disney
Princess Fanart of
Cinderella by online
artist Miyuli
Fig.45&46: Bottom
Genderbent Disney
Villians Cruella De Vil
(left) & Maleficent (right)
by digital artist Sakimi
Chan

Fig.43: Above Russian Cosplayer, Anna Melova dressed as

Elizabeth Comstock from popular game series Bioshock
infinite (2013)

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Fig.48&49: Redrawn
covers of both Spiderwoman and Spiderman
comics.

Fig.47: Extract from manga Soul Eater, (2004).

74

75

Fig.50: Top left The Hawkeye Initative created by Artist

Gingerhaze, tumblr.
Fig.51: Left sassy-gay-justices, Neverland Hook #3
Original cover by Pasquale Qualano
Published by Zenescope Entertainment
Fig.52: Above moneynolaundrys draw over of Queen
Sonja

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Fig.53: Kick starter and Indiegogo logos.

78

Fig.54&55:Left
Cardcaptor Saukura &
Bottom: The all female
creators of CLAMP.

79

Conclusion

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81

o conclude, it is safe to assume that comics are gradually

taking a step in the right direction in terms of gender
representation. Although, there are still many issues
revolving around gender representation, it is easy to see how
far the industry has progressed since first appearing during the
1930s. Despite this, however, a lot more work still needs to
be done in order to create an industry, which is diverse in the
representation of minorities, cultural groups and communities.
Suggesting that this may very well take a long time to take affect,
when looking at the comic book industry especially inAmerica. But,
because of modern technology and forms of social media, there
are now a number of platforms that allow a range of access to fans
to express and represent gender equality along with sexuality.
Comics have now become a much safer place for fans to be
able to explore themselves and identity safely through the use
of these imaginative stories and characters. Although, a number
of problems still arise within the comic book industry and
society from either culture. It is crucial that comics are able to
push these boundaries and spread towards a bigger and more
diverse audience than before. It is even more important that the
comic book industry is a lot more flexible in representation, as
well as accessible in turn allowing new audiences to engage
and become apart of the comic book scene and culture.

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References &
Bibliography

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References

Bibliography

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