Writer Matt Fraction and artist Chip Zdarsky have created a warm and intelligent comic with an overtly pro-feminist take on sex and relationships. Don’t let the fact that it’s called Sex Criminals put you off – the title is a play on words and refers to the main characters’ ability to literally stop time when they have sex, which they use to carry out bank robberies.
It’s a surreal concept, and one which is difficult to write well, but Fraction has built a successful career out of telling these kinds of stories, and is skilled in persuading readers to suspend their disbelief.
In Sex Criminals, time is not presented as strictly linear: events are shown out of sequence, and the adult version of the lead character Suzie narrates scenes from her adolescence, sometimes even appearing next to her younger self on the page. This time-travel effect makes it easier for the reader to accept Suzie’s time-stopping powers, while also establishing her as our link to the story.
By choosing a female lead character, writer Fraction is challenging popular culture’s tendency to shy away from female leads, as well as the relative taboo of women’s sexuality.
In particular, his willingness to discuss female masturbation is refreshing because, while male wanking is openly discussed, joked about, and accepted as a fact of life, there’s still a lingering sense that it’s dirty when women do it.
Early on in the comic, we see young Suzie discovering the Greatest Love of All in the bath, and it’s dealt with in a sensitive, not overtly-eroticised way – adult Suzie, narrating while fully clothed and perched on the edge of the bathtub, is the focus of the panel.
Although we are aware that young Suzie is masturbating in this scene, the aim is not to sexualise her but to introduce her orgasm-related superpower, so the masturbation is less important than what happens immediately afterwards. In a pastiche of the old comics trope of an ordinary kid acquiring superpowers when they hit puberty, Suzie realises that time stops when she comes. Here, Fraction takes an inspired dig at the state of sex education in American schools, because Suzie has no idea whether her experience is normal, and she’s forced to rely on the dubious wisdom of a classmate when the adults won’t answer her questions.
Despite this, Suzie eventually becomes more confident about sex, and it’s made very clear to the reader that when she has sex with a partner it’s her choice to do so. As the narrator, she informs us that the first time she slept with her high school boyfriend Craig she had decided to do so in advance, and we see her enjoy the experience, even though it doesn’t live up to her expectation that it would be a profound, life-changing event. From a feminist point of view, the most interesting of the comic’s sex scenes is Suzie’s first encounter with Jon, who has just been introduced as the love interest. Jon explicitly checks for consent before initiating physical contact, in a way that seems natural, relaxed, and pretty damn sexy.
The admirable gender politics of the writing are perfectly complemented by Zdarsky’s art, which fits perfectly with a comic which is played for laughs as much as for titillation. It isn’t drawn in an overtly erotic style, and there isn’t as much nudity as you might expect. The fact that the art isn’t wank-bank material in and of itself highlights the more cerebral aspects of Suzie’s attraction to Jon; they fancy one another, but their interest is sparked by shared interests over looks.
The art is also key to conveying the comic’s humour, whether it’s in Craig’s ridiculous gurning expression when he’s frozen in time right at the point of orgasm, or the crude drawings of nonsensical sex acts that Rachelle uses to explain “the real raw sex shit” to teenage Suzie. There are also a range of less obvious visual gags worked into the art in backgrounds or on characters’ clothes, including numerous references to a celebrity called “Sexual Gary” who appears to be a pin-up figure for teenage girls.
Although Sex Criminals is a very funny comic, it also has emotional depth. The scenes from Suzie’s adolescence aren’t solely about her sexual development, but also deal with her father’s sudden death and her mother’s difficulty in coping afterwards. Young Suzie’s reactions are balanced by the narration from her adult self, creating a richer and more satisfying narrative.
Sex comedies can often disappoint feminists, but Sex Criminals shows that writers don’t have to rely on tired sexist stereotypes when writing jokes about sex, and that decent gender politics don’t have to be po-faced and humourless. Whether you’re a devoted comics fan or simply curious, this one is definitely worth a look.
Sex Criminals is available now from Image Comics for digital download and from, ahem, specialist retailers.
- At night Alyson Macdonald dons a cape and tights to fight sexism and the Tory government on the internet. She mostly blogs at Bright Green and tweets as @textuallimits.
Strong Female Protagonist
Yes, I found this by doing a lazy Google search after “decent webcomics that won’t make me scream” didn’t turn up anything useful. But it worked, and here we are. Strong Female Protagonist by Brennan Lee Mulligan (writer) and Molly Ostertag (art) is a superheroine comic about an American teenager trying to deal with being an ex-superhero, her former comrades and enemies, and going to university whilst still having epic superpowers.
There’s an X-Men-esque backdrop of mutation-hatred, and so she exists, like many superheroes, in a world that is not entirely happy about having superheroes. The black and white thick line art is really nice, I like the emphasis on characters’ faces and expressions rather than bodies, and the themes of power, responsibility and morality are something I think the “super” genre is well-placed to tackle.
The main exploration is, naturally enough, about what it means to be a Strong Female Protagonist, and links neatly to this nice article on the subject in the New Statesman recently. Yes, the lead character is “strong” – she’s a physical powerhouse, and strong-minded too. Her strength isn’t just physical, but also emerges in terms of her blunt decision-making and clearly held beliefs about right and wrong. Strength ostensibly defines her, but the comic is about the questions and complications behind what that might mean.
Delilah Dirk
I was absolutely bowled over by the quality of the artwork in Delilah Dirk and the Turkish Lieutenant. The colouration is superb, and the detail in each of the panels makes the whole thing look absolutely lush: there’s a “classic story” feel to the whole piece, and the pages, like our titular heroine, are full of life and activity.
The comic is set in (sort of) Constantinople in 1805, and is very much in the style of The Mummy and Adele Blanc-Sec (watch the movie now, if you haven’t). I won’t lie, I do like a good swashbuckling, wisecracking character in a gung-ho Sinbad the Sailor-style universe, where bad guys are bad and the goodies might do slightly naughty things, but it’s all in a Robin Hood sort of way.
This is one of those narratives: Delilah is half English, half Greek, all Action Famous Adventure Lady, and all tongues should remain in cheeks, except when they’re lolling at the beautiful landscapes of Tony Cliff, whose work has also graced Flight. It’s not particularly deep or meaningful, but hey, not all narratives with female characters need to be about what it is to be a female character, right? It’s definitely a damn good yarn, and worth a look for the art if nothing else.
The Fox Sister
A fox-spirit comic? I don’t mind if I do.
Rather than the more familiar Japanese shapeshifter, The Fox Sister is about the Korean Kumiho. It’s another gorgeously-drawn webcomic and the product of a very welcome collaboration between Jayd Aït-Kaci and Christina Strain, who is departing from her usual colourist work to write this modern fairytale of two sisters.
The thick line-brush work and open panels sit well with the thoughtful, slow-paced writing in a landscape of snow and secrets. I love the way the fox spirit steps out of the panel on the page I’ve included here.
Something about the artwork reminds me of a pre-Blu-ray cleanup Disney’s 101 Dalmations, especially in the colour palette and faces of characters, but this is not a Disney story, though the elements make it appear like it might be – we have an all-American hero, and his ongoing terrible attempts at both speaking Korean and trying to get romantic with our heroine, Yun Mee, who is far more interested in fighting the fox-demon that took over her elder sister’s life.
Gunnerkrigg Court
A mysterious school, in a mysterious city, by a mysterious forest, separated by a large (mysterious) moat. This is a webcomic of teenagers, demons, spirits, folktales, ghosts, robots and the usual school-related growing pains. Gunnerkrigg Court is Harry Potter meets Malory Towers meets something deeper and darker altogether.
It’s a huge, sprawling world, crammed full of interesting female characters. The story focuses on the central pair of Antimony and Katriona, who are best friends, and their experiences going to school and becoming part of a magical/technological war which is threatening to move from cold to hot.
The comic is subtle, curious, funny and strange, with tones of Gloom Cookie, although the art is cleaner and more colourful; slightly French and manga-esque in feel. I particularly like the fact that the world has rules that are revealed as you go along, and how many things (and people) are left unexplained and without immediate resolution. Relationships are equally complicated – this is a world where love and feelings are explored in detail.
That’s all for the moment – more in the next post. Please share any webcomics you find with the team here, as we’re always looking for more reading material. For bonus points, here’s a link from the Mary Sue on Gail Simone’s griping about writing those troublesome male characters. Because it made me laugh this afternoon.
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It’s been a long time since I’ve bought a paper comic. I was deeply in love with comics at one point in my life. I swore off them a while ago for reasons of both taste – I’d run out of titles with female characters that I was interested in – and budget: it was one too many expensive habits for a theatre professional, and in the end, red wine won the day.
I’ve kept a weather eye on the comics world, and the announcement of an all-female line-up for X-Men was enough to send me to Forbidden Planet. But what made me actually buy the thing despite the £3 price tag was writer Brian Wood (DMZ, Channel Zero and Northlanders) and colourist Laura Martin (Planetary, Authority and JLA Earth 2, which all sit beautiful and bold on my shelves thanks in part to her palette choices and ability to make heroes look truly heroic).
Marvel introduce the issue on their website as follows:
Because you demanded it! The X-Women finally get their own book!
So, a fan-based revolution in the world of comics? Perhaps. The title is part of Marvel NOW, the 2012 relaunch of the brand aiming to bring new readers into the market, or in my case, perhaps to bring readers back into the fold and into comic stores.
Could it be that the comic industry is tackling the gap in the market for mainstream titles that are interesting to women? I’m heartened by the weight put behind this comic; it doesn’t seem to be a gimmick or an afterthought. The issue was heavily trailed with an XX teaser campaign, which was hard not to notice. And what I’ve also been interested to note is the supportive voices around the line-up, with Bleeding Cool praising Marvel for “raising their game in this regard” and other commentators using the launch as an opportunity to dedicate space to interviews with women in the industry, and to the importance of more titles about women, for women.
There’s a good piece here in Clutch, an interview with editor Jeanine Schafer over at The Mary Sue, and another piece here at Bitch magazine.
To me, my reviewers!
The series features an all-female team including Storm, Jubilee, Rogue, Kitty Pryde, Rachel Grey (daughter of Scott and Jean) and Psylocke. They’re based at Jean Grey’s School for the Gifted and pitted against runaway trains, teenage tantrums in the hallway, and the arrival of John Sublime with a request for help.
I’m very pleased to see Storm’s mowhawk back in business, and Jubilee was always a favourite of mine from the TV series, even if she was often cast as a mutant girl version of Snarf. She spoke to me of teenage wish-fulfilment, her mutant power always waiting in the wings for the right moment to shine, exactly like mine. Except my mutant power hasn’t developed yet. I’m sure it will.
What’s good about it? Lots. Lots and lots. The storyline moves on nicely, with a strong introduction that sets up future intrigue. It’s issue one, so I’ve not got a lot to go on, but so far it feels well-paced and with good action scenes and themes of homecoming (positive and negative) alongside the usual “outsider” politics that have always been a solid foundation for mutant-related plot.
The main characters get set up nicely and all showcase their abilities, personalities and range of powers. Jubilee and Kitty are set at a similar age and look like they are set to play out the roles of younger, naive/vulnerable characters, although there are two pupils at the school who look like they might also fill that position, so we’ll see. In terms of more experienced or older figures, Storm takes centre stage on the cover and is the team leader and headmistress with Rachel Grey as her second-in-command. Rogue is the powerhouse, and is shown enjoying herself being gung-ho in saving the day during a classic runaway train sequence, whilst Psylocke is pleasingly intimidating in the role of bad cop when Rachel interviews John Sublime.
There’s the usual balance of action/adventure with high school drama, much as you might expect, so in the future I’m hoping for something along the lines of Grant Morrison’s New X Men. This is referenced clearly through the young people at the school, so in those panels you can play a fun game of Guess Who? Mutant High Edition. This does also tend to lead on to a less fun game of Where Are We In What Passes For Continuity Around Here, but generally I take the Doctor Who approach on that one, so try not to get cross-eyed, basically.
I can’t write this review without talking about how the characters look, partly because comics are a visual medium, but also because it’s so good to see a lot of the traditional problems of female representation overturned here. We have two non-white characters in the line-up, neither of whom are the xenophilia standard sexy blue lady. Almost all of the outfits in Olivier Coipel’s artwork are really nicely, thoughtfully designed and look very practical, including Rogue’s costume which comes complete with a hooded top. No spiked heels – or any of the break-your-legs Girl Power stacks of Frank Quitely – are in evidence. Everyone’s zippers go all the way up, with the sad exception of Storm who, in the words of a friend of mine, seems to have developed a secondary mutation allowing her outfit to stick to her breasts despite flying at speed. She’s clearly the Emma Frost replacement in the line-up.
I’m going to be charitable and say that the instances of female characters doing needlessly sexy poses is fairly low, but having passed the issue around a few friends (male and female) the mileage varies. That said, it’s certainly way below what I would have expected and certainly nowhere near the awful debacle that is DC’s recent treatment of Starfire. I could easily imagine a world in which an all-female X-Men line up could have been all bikinis, all the time…
If I’m being uncharitable, I could say that it’s sad all the women are quite so perfect in how they look. Mutation offers such a variety of bodies to the writer and artist that it would have been good to see a character who subverted traditional expectations of what heroic women in comics should look like. A woman with the glorious curves of Morrison’s Angel Salvadore before she got reworked into a “prettier” version. Similarly, it’s a shame not to have an older female character to give something of the sagacity of Professor Xavier (can we make Helen Mirren a mutant already?), not to mention the fact that without him and without Cyclops the line-up could perhaps be seen as somewhat ableist compared to other line-ups.
All said and done though, this is only the beginning, and only a few pages. And in case it wasn’t clear: I really enjoyed it. I’ll spend money on the next one. A slim volume cannot hope to achieve everything that I might have wanted from a comic, but even if it weren’t an engaging start that has me hooked, it has already done an awful lot to show what female superheroes can do when well-written and well-drawn: tell a fantastic story that makes you wish your mutant powers would hurry up and kick in…
Does this herald a much-needed change and a step in the right direction for the future of comics? I hope so. But I’m hedging my bets, just in case I’m once again entirely cut off from my source of illustrative imaginings. Instead, I’ve been out on the wild plains of internet comics, on the hunt for decent female protagonists and generally doing pretty well – more on that in another post. Watch this panel.
In the meantime, I leave you with this quote I found in the slew of Google searches that I pass off as “research”:
]]>For a bulky segment of a century, I have been an avid follower of comic strips – all comic strips (…) I cannot remember how the habit started, and I am presently unable to explain why it persists. I only know that I’m hooked, by now, that’s all.
– Dorothy Parker, 1943
Hopey and Maggie, Jaime Hernandez 1990
Love. And. Rockets.
If you’re at all interested in comics or graphic novels you’ve probably heard of Love & Rockets, and you’ve probably had someone like me tell you about how amazing it is and how you should read it immediately. I’ll try not to labour the point, but it is really, really worth having a look.
The scope of the series, which ran from 1981-1996 – with further stories being added since 2001 – can be a bit daunting, which is why Fantagraphics have produced a guide to how to read Love & Rockets.
In brief: the Love & Rockets title encompasses two separate but slenderly-connected worlds, with Gilbert Hernandez writing about the fictional Central American village Palomar and its inhabitants, and brother Jaime Hernandez writing about the adventures of two punkeras in 1980s California.
Both sets of stories span decades, with meandering plots, sprawling casts, and for my money, the emotional depth and philosophical reach of any ‘great’ work of literature. There are touches of magic realism, and sex and violence feature prominently, although they are hardly glamourised. If anything, the comics focus on the mundane, everyday details of two tangles of human lives with the occasional connecting thread.
Women and humans
What makes each half of the series so compelling (and they are – I have pulled more than one all-nighter working my way to the end of a story arc) is the incredible ability of both artists to give their characters life. And more than that, to make them human, with all the cruelty, confusion and compassion that that involves. I’m trying to pick my way through a bog of clichés here, but for me the Hernandez brothers are up there with Shakespeare and George Eliot in their characterization.
And a hugely important part of that for me is that both worlds have magnificent, believable, complex, varied and interesting female characters. Tons and tons of them, and they get plot. In fact, they get the bulk of the plot. Some are ‘strong female characters’ in the most literal sense (rather than the hilarious Hark! A Vagrant sense) as the cast includes a number of women wrestlers and superheroes. That may sound ridiculous, but trust me, they pull it off.
There’s no way I could do justice to the whole series in a single post (but Colourlines has a good introduction) so I’m going to zoom in on my favourite, the ‘Locas’ stories by Jaime Hernandez, starring two of the most brilliant comic book heroines of all time: kind, adventure-prone Maggie the Mechanic, and spiky, compulsively subversive Hopey Glass.
Maggie and Hopey
Jaime Hernandez, 2000
We meet best friends and occasional lovers Maggie and Hopey in their late teens, in the fictional town of Hoppers in California. The fact that the two main protagonists in this world-famous, best-selling comic book series are queer latinas is almost enough on its own to recommend reading it as I’m sure you’ve noticed that the comics world isn’t exactly overflowing with such characters. Incidentally, Geek Feminism has a short list of comics featuring women of colour.
At the start Maggie takes a job as a ‘pro-solar’ engineer, and her early stories feature spaceships, dinosaurs and female wrestlers who moonlight as superheroes (there are a lot of these) but when she returns to Hoppers the story sheds a lot of the B-movie trappings and focuses on more earthbound challenges, including love requited and unrequited, friends, enemies, and age.
We follow them, together and apart, over the next 30 years, during which time they change considerably, including their appearance. Most famously, Maggie puts on a lot of weight.
Bodies and sex
At the Comica event Hernandez spoke at recently, he was asked how he responded to some fans’ complaints about Maggie’s weight and their persistent hope that she would lose it and get ‘pretty’ again. He replied: “Oh, I just have to say ‘you don’t know what you’re talking about’. Maggie is heavy. She is the only heavy person in comics, still. Why is she the only heavy person in comics?”
While Maggie does worry a little about her weight, it never bothers her lovers, and she is not ostracised or ridiculed or any of the other things we are taught to fear may befall us if we get fat.
That’s something else I love about the Locas stories: they can be a good antidote to body image argh, not just because there’s a huge range of body types on show (there is a lot of nudity – again, it doesn’t tend to be glamorous) but because they are drawn with such skill and honesty that it is impossible to be ashamed.
And, well, the comics are sexy. Not in a brittle, cookie-cutter, performative way (although that is examined too when some of the characters begin working in a strip club1 ) but in the way that real people are sexy.
At the Comica event, Hernandez said he aims to treat sex just like anything else in the stories “because that’s how life is: you have sex, then make a sandwich. It’s that stream of life thing.” He added that even now he can’t draw a ‘pin up’ or deliberately ‘sexy’ female character without knowing anything about her.
Representation and truth
OMG OMG
This sensitivity and radical theme of ‘women as humans’ was continued in Hernandez’ comments about the decision to make Maggie and Hopey lovers.
At the start, the comic was in ‘freefall’, breaking all then rules and comic conventions, so it was about doing something different. But he explained that “I knew I had to back it up – I could put in as many Latinos as I wanted because I am one, I know that world. But with relationships between women I was aware of my responsibility to listen and understand.”
I’m just going to end up fangirling all over the shop, so I’ll end the post here. But really, seriously, get hold of a copy of the Locas stories; you won’t regret it. As Jaime said, Love & Rockets doesn’t aim to be realistic, but truthful.
- YES, that’s right, it even portrays sex workers as real people!
Emily Carroll
She’s pretty well known, but deserves a mention anyway. I love the glimpse into (predominantly female) costume history I get from Draw This Dress – a shared project with award-winning fellow illustrator Vera Brosgol. Her Valentine’s day comic last year, Anu-Anulan and Yir’s Daughter, featured a lovely romance between two women (well, one’s a goddess, but anyway). Folklore-influenced The Hare’s Bride has a beautiful Carteresque simplicity to it. I love her work, and you should too.
Sarah Gordon
I mentioned Sarah in the last post – working as colourist, she’s one third of The Peckham Invalids team along with Howard Hardiman and Julia Scheele. Her blog is a great read and her art is beautiful. The above wonderfully snooty lady is her own take on one of the characters from the comic. She says: “I’d like 2012 to be a year where I stop hiding all my personal/story work in my head, notebooks and sketchbooks and get it out onto… the internet”. That really struck a chord with me, because my own situation is very similar.1 So I wanted to cheer Sarah on. Hope that’s not too weird. Uh. Yeah! Go Sarah, from a total stranger! And now, dear reader, you must go and Do Similarly.
Patrice Aggs
Thought I’d go a bit more longstanding – Patrice is pretty established, but she is also awesome, so if you aren’t familiar, here she is. Her work is soft-edged and has a kind of instant, gentle appeal – she’s done a lot of popular children’s books and resources for schools, but has a lifelong passion for comics. She’s worked with Philip Pullman and Horrible Histories and on The Snowman (CHILDHOOD NOSTALGIA WIBBLY ALERT) and has signed up to draw a story for new children’s weekly comic The Phoenix. Hurrah for getting children into comics! (TANGENT: Check out this sword-wielding art for one of the other stories. I’d have loved that as a kid. I hope the story’s as good as Neill Cameron’s art makes it look.) The other reason I want her on this post is she’s apparently quoted here2 over on Ladies Making Comics as follows: “Do-it-yourself is far duller than do-it-together. We need to champion each other. Drag the male-dominated blinkered attitude into the dustbin.”
Wise words indeed.
Marc Ellerby
“Chloe Noonan is a monster hunter, but she doesn’t have any powers. She can’t beat up bad guys, she can’t run without getting a stitch. She’s kinda flakey and really not bothered about saving the world. Plus she has to get the bus everywhere. I know, right?!”
I love Marc Ellerby’s clean lines and eye for detail. His monsters are bloody excellent – you can feel how much fun he’s had dreaming them up. Also, no one draws an unimpressed glare (a favoured expression of mine, naturally, as a Strident Feminist Blog Editor) quite like him. So of course, I’m now madly in love with Chloe Noonan, his wonderfully indignant teen monster hunter heroine. She’s amazing. She hurls bombs at monsters and plays in a band whilst loudly cursing both vocations and her schoool-friend sidekick is pretty cool too (also, female: BOOM BOOM BECHDEL BUST). Check her out. Buy the comics. DO IT NOW. That is all.
You know, I still don’t think I’m done. There is so much visual awesome out there. There’s a huge stream of female creators and artists and a rich seam of great heroines, characters, and attempts at inclusive projects out there. They need shouting about as much as possible. While we’re here, though not all my choices on this list are female creators, the women who work in comics, for example (and I know I’ve I’ve not really differentiated ‘illustration’ from ‘comics’ here, but anyway) give the lie to defensive statements on why women are so frequently left off panels at events, and so on. They’re around. You just have to look around you.
For further inspiration for the budding artists out there, I leave you with this photo of Patrice Aggs in action.3
More soon.
- I’ll get around to talking about the team and what we’ve been drawing at some point. I want to talk about these awesome people first, but if you’re curious, trumpet-blowing will happen. I’m, er, shy.
- At least, I think this is a quote? I wasn’t completely clear, if I’m honest. But it’s great advice, either from her, or inspired by her work. So there you go.
- If you took it, I hope you do not mind. I haven’t tracked down the image rights, but if it was you and you can let me know, I will credit you or remove it if you’re not digging my use of it, and so on.