Tights in Flight: a quantitative Deconstruction of Super-Masculinity in American Comic Books

Demographical Information

More than seventy percent (72.5%) of characters possess superpowers (n=100), indicating superpowers are normative rather than exceptional. Characters with nonphysical superpowers are most common (25.4%, n=35), followed by physical (19.6%, n=27). The combination of both physical and nonphysical superpowers is comparatively rare (8%, n=11), while characters with unidentified powers make up approximately one-fifth of the sample (19.6%, n=27). High representation of nonphysical powers fails to support existing literature and research expectations associating masculinity and aggression (see below; Donaldson, 1993; Evans and Davies, 2000; Pecora, 1992; Soulliere, 2006). Unexpectedly high representation of characters with unknown powers indicates that although superheroes are often costumed, they do not always utilize their powers and may spend entire issues talking or attempting to unravel a mystery (for example, Avengers #8).

Male characters represent the majority of the sample (74.6%, n=103), indicating superhero comics continue to represent a masculine environment in which female characters are marginalized—yet even aliens, mutants, and demons are easily identified by sex. Best’s analysis of homosociality in 1950s superhero comics seems uncannily representative of the modern milieu (see below; 2005:88).

Because the majority of characters’ racial identities are unstated (86.2%, n=119) apparent racial identities are used for analysis and cross-tabulations. In keeping with research hypotheses and existing literature, white characters are most common (65.2%, n=90; Brown, 1999; Greenberg et al., 2003; Morrison and Halton, 2009; Singer, 2002; Soulliere, 2006). Even two characters whose stated racial identities are Egyptian present as white (Shiera/Hawkgirl and Carter/Hawkman in Brightest Day #13). Mutants are more common than black or Asian characters (mutant, n=8; black, n=7; Asian, n=3) and aliens outnumber all minorities and mutants combined (16.7%, n=23), supporting Singer’s observation that imaginary races outnumber racial minorities and create a false sense of racial diversity in superhero comics (Singer, 2002:112).

Similar to racial dimensions, age is primarily unstated (97.8%, n=135). The majority of characters’ apparent age is adult (69.6%, n=96) followed by young adult (n=13), middle age (n=12), and old age (n=8). While adult characters represent an overwhelming portion of the sample, each age range is represented (n≥1).

The only form of sexuality represented is heterosexuality (39.1%, n=54). While this supports existing literature and research hypotheses (Carrigan et al., 1985; Donaldson, 1993; Goffman, 1963; Kimmel, 2007; Palmer-Mehta and Hay, 2005), the complete absence of other sexualities indicates more extreme social sanctioning through exclusion, a phenomenon Soulliere argues can lead to increased homophobia in audiences (2006:9). The majority of characters express no sexuality (60.9%, n=84), indicating a predominantly asexual environment.

Almost half the characters engage in physical aggression (45.7%, n=63), though the majority of them fall into the low category (n=42). Fewer characters participate in verbal aggression (36.2%, n=50). Data indicate physical aggression is more prevalent and more concentrated among individual characters, as reflected by wider class widths. Frequencies of physical and verbal humiliation among characters are slightly higher than those of aggression (55.1%, n=76; and 41.3%, n=57, respectively). Overall, physical altercations represent the majority of character conflicts, with superpowers being the most common weapon (n=31).