• alisone commented on the page, on the site Superhero 1 year, 6 months ago

    This reminded me of the campy Batman series of the late 60’s early 70’s and it felt a lot more lighthearted than some of the other comics we have read( I am looking at you Watchmen and TDKR). This comic did not take itself as seriously as some of its predecessors and that is a nice change of pace. I love that everything but the covers is in black…[Read more]

  • alisone commented on the page, on the site Superhero 1 year, 6 months ago

    What the hell is Kent talking about when she writes how reviews of Ms. Marvel emphasizing relatability ‘erase individual experiences of marginalized peoples”? Am I reading this wrong?

    Absolutely not. Reading this article left me shaking my head. I feel like it was a knee-jerk reaction to the positive, albeit troubling popular criticism of the…[Read more]

  • alisone commented on the page, on the site Superhero 1 year, 7 months ago

    Bramlett defines Superman exposure to solar radiation as “life-changing trauma” (5). By following Bramlett’s logic, why do you think Superman maintains his standard quotidian the same except him telling Lois his connection with his alter-ego? If that is considered a trauma, why didn’t Superman tell Lois that he is dying?

    I think that the tra…[Read more]

  • alisone wrote a new post, The Female Link, on the site Superhero 1 year, 7 months ago

    I really enjoyed Erin Keating’s essay The Female Link: Citation and Continuity in Watchmen. She does an analysis into the role that both Silk Spectre’s play in Watchmen, and questions whether the masculine co […]

    • I agree with her assessment because Watchmen is the type of comic that traditional superheroes aren’t being presented as. In the Watchmen you have serval types of very different characters. The characters in the Watchmen all go through very different experiences that makes up who they are. The characters also question who they are, as well as what purpose do they have in doing what they do. For example, you have Rorschach who wears a mask that portrays different images that are used in psychology in order to figure out the psyche of the patient. Thus, figuring out how to treat them or what progress they have made. Rorschach went through bad experiences and in some form portrays those experiences in his need for justice. You also have Night Owl who people would say lack the go to be a superhero nonetheless is one based on his own motives or people that keep up his motivation to continue being Night Owl. As a result, it’s in this way that the Watchmen portray a realism in the way other comics have not done. It is in this way that the Watchmen as Keating argues that their foundation does operate for “moral ambiguity” and the “revisionist aspects of the text”. The Watchmen are not your average perfect superheroes they struggle with their morality in their own way and that is what makes the Watchmen more real than other comics that don’t portray the aspects of a revisionary superhero.

    • I think that Keating certainly does show that there is something at work within the way gender is performed and expressed within the graphic novel. I would mostly agree with her assessment, but one moment where she “loses” me during her argumentation (to put it colloquially) is when she writes of Jon acting as a God-like figure that not only “blesses” Dan and Laurie’s relationship by the end of the graphic novel, but then also “blesses” the heterosexual structure that will endure beyond Viedt’s success (or failure) of his new world. She writes that despite his efforts, Jon perceives Veidt’s efforts as becoming “a repetition of history rather than the radical new world…the unchanging element. The heterosexual (and by extension homosocial) relationship, in which the woman acts as a bond between men” (Keating 1284). I fully appreciate what Keating does here with the idea that the unchanging thing Jon implies is also the heteonormative hegemony within the society, but I am not sure that I fully support the fact that Jon is “blessing” whatever world Veidt helps (or doesn’t help) to continue.

      I really liked Keating’s discussion of gender performativity. Particularly, if we think of back on the ways in which Peter Coogan defines the superhero, the costume itself becomes a key role in the construction of a hero’s identity. If a hero’s costume is clearly gendered in some way, that it speaks highly to performativity. In Watchmen this is particularly obvious, but in thinking about The Dark Knight Returns (and even the Golden-Age Superman comics) there is a donning of masculinity that also occurs in male super heroes, which would also warrant a sort of support of the idea of performativity of gender. In Watchmen, I think it can be argued that Dan is cured of his impotence not simply because of Laurie’s costume, but also because he then “performs” in a more masculine manner, heroics included. It can be different in that, not so much in Watchmen perhaps, but a female character may don a traditiionally male costume — here I am thinking of Carrie Kelly in TDKR — becoming Robin, a role normally donned by male characters (Jason Todd and Dick Grayson).

      I’m not sure that I can think of “counter-examples” to the invisibility that characters like Laurie or Sue Storm inhabit, but in thinking about other “triangles” in Watchmen, there is also the love triangle between Jon, Laurie, and his pre-Manhattan love-interest, Janey Slater, but this one plays more into the traditional “romantic love triangle,” and adds an interesting aspect to heteronormative relationships, in the preference over a younger and more attractive woman rather than an aging one — something Janey is acutely aware of.

  • alisone commented on the page, on the site Superhero 1 year, 7 months ago

    Hoberek’s introduction is from his novel titled, “Considering Watchmen: Poetics, Property, Politics. Even though Hoberek wrote this book on Watchmen and believes in its influence on other writers and works such as Junot Diaz, he still questions why it is considered literature. Why do you think it is a hard question for Hoberek to answer?

    I thi…[Read more]

  • alisone commented on the page, on the site Superhero 1 year, 8 months ago

    How did you feel about the “realistic” elements that are intertwined into the plot of The Dark Knight Returns? For this topic, feel free to blog about the brilliant, albeit controversial, decision to age Batman, the politics involved in superheroism, or the presence of the Cold War and the Reagan administration. (Also, if you’d like to blog about…[Read more]

  • alisone commented on the page, on the site Superhero 1 year, 8 months ago

    To answer your first question I would say that we would have to look at these comics with a historical lens. Unfortunately then (as like now) to get something to see it had to play into the histrionics of the moment. Phillip nailed it on the head when he likened this to an after school special. I think Nama does a good job of showing, not only…[Read more]

  • alisone commented on the page, on the site Superhero 1 year, 8 months ago

    Ken, to answer your third question; I would say that X-Men effectively shows how your family is not necessarily your biological contributors and associates, rather your family can be what YOU choose it to be. That’s a powerful statement especially for adolescents. I was 11 when the X-Men cartoon came out in the 90’s and what I gravitated towards…[Read more]

  • alisone commented on the page, on the site Superhero 1 year, 9 months ago

    Mary, you did a great job summarizing a very dense essay. I think that Eco’s argument on time and temporality in Superman is interesting and I like the idea of the comics being always in the present, I honestly never noticed that before. I honestly think this “immobility” of time is what bothers me about Superman. I have never really liked him…[Read more]

  • alisone became a registered member 1 year, 9 months ago