Masculinity and Favorable Outcomes

Gender Dynamics

In order to map the construction of masculinities in superhero comics, the reciprocal relationship with femininities must be examined and the interaction between male and female characters analyzed. Beginning with examination of data relevant to research hypotheses regarding sex and superpowers, this section explores theoretical questions regarding the agency and importance of female characters in a mostly male environment.

Based on existing literature identifying physical strength and aggression as masculine traits, research hypotheses anticipate a negative association between female characters and physical superpowers (Donaldson, 1993; Evans and Davies, 2000; Pecora, 1992; Soulliere, 2006). Although data indicate a statistically significant relationship between sex and superpowers (p=.017), analysis shows it to be more complex than the anticipated association between feminine and nonphysical powers and masculine and physical powers.

Female characters are most likely to possess both physical and nonphysical powers (17.6% of females, n=6), while male characters dominate the separate categories of nonphysical and physical. Data indicate male characters are most closely associated with nonphysical powers (30.1% of males, n=31), while physical powers are secondary (23.3% of males, n=24)—a finding contradictory to previously identified associations between physicality and masculinity. Female characters are less likely than males to possess physical powers (8.8% of females, n=3), yet male characters are even more likely to possess nonphysical powers. At the same time, it is extremely rare for men to possess both physical and nonphysical powers (4.9% of males, n=5), indicating that while women are underrepresented in either extreme, they dominate the middle ground, functioning as intermediaries between the binary opposition of physical and nonphysical, and occupying, at least in regard to superpowers, a liminal position in the world of heroes.

The odds of not having superpowers are also higher among female characters (35.3% of females, n=12; 25.2% of males, n=26) and women are more likely to put on a costume without ever using their abilities (unknown superpowers: 29.4% of females, n=10; 16.5% of males, n=17). Both findings support Best’s assessment of 1950s superhero comics, in which female characters exist as heterosexual signifiers, occupying less important roles than their male counterparts (2005:94). Best argues women became more prevalent within superhero comics to dispel the specter of homosexuality conjured up by the 1954 publication of Frederick Wertham’s Seduction of the Innocent. However, rather than being active participants, the primary role of female characters was to disarm an otherwise male environment by providing socially acceptable love interests for the heroes.

In keeping with Connell and Messerschmidt’s argument that gender dynamics must be explored more thoroughly in order to comprehend the construction of masculinities, a number of other variables are analyzed to better understand the relationship between male and female characters. Best’s identification of women as heterosexual signifiers in superhero comics is supported by several of these findings, namely: female characters are less likely to be major characters (5.9% of females, n=2; 24.3% of males, n=25; p=.057); they are more likely to be identifiably heterosexual (58.8% of females, n=20; 33% of males, n=34; p=.02); they are more likely to have romantic partners (32.4% of females, n=11; 6.7% of males, n=7; p=.005); and, although not statistically significant (p=.337), women are more likely to express sexual interest than men (23.5% of females, n=8; 8.7% of males, n=9).

An analysis of the relationship between sex and aggression failed to find a positive association between male characters and physical or verbal aggression—in direct contradiction to research hypotheses and existing literature (Brown, 1999; Carrigan et al., 1985; Donaldson, 1993; Evans and Davies, 2000; Morrison and Halton, 2009; Pecora, 1992; Soulliere, 2006). In fact, data show no statistically significant relationship between sex and aggression whatsoever (physical aggression, p=.835; verbal aggression, p=.781), indicating female characters are just as ready to shit-talk, threaten, and physically attack as their male counterparts. Even analysis of specific forms of physical aggression found no association with sex (body, p=.906; object: p=.655; superpowers, p=.663). Although this contradicts existing analyses of gender and aggression, Evans and Davies’ study of children’s books found that female characters are more likely to transcend gendered expectations than male characters, indicating greater flexibility in emerging representations of femininity (2000:257).

Also contradictory to expectations, including Best’s argument that female characters play a supporting role in a masculine superhero environment, is the lack of relationship between sex and attainment of favorable outcomes (p=.936). Modern female characters in superhero comics, although underrepresented, are equally likely to vanquish enemies, rescue characters, and obtain valuable information. Women in comics may still signify heterosexuality in a predominantly male world, but they are now as aggressive and successful as the men they share the page with.

Although no statistically significant relationship exists between sex and humiliation (physical humiliation, p=.787; verbal humiliation, p=.78)—indicating male and female characters are equally victimized—qualitative observations identify female characters as uniquely prone to total incapacitation, in which they are either restrained or unconscious for entire issues, situations that facilitate protection or attempted rescue by male characters (for example, Shiera/Hawkgirl in Brightest Day #13 and Bobbi/Mockingbird in New Avengers #10). This is in keeping with Lavin’s analysis of female characters in pre-1950s comics, which identifies bondage and distress as two major themes associated with women (1998:94-95).

Also supportive of Lavin’s argument, the only act of sexual aggression within the sample is unwanted physical contact from a male character (Hath-Set) toward a restrained female character (Shiera/Hawkgirl) in Brightest Day #13. However, as data indicate, female characters are not as helpless as they once were, and, after extensive physical and emotional abuse, Shiera strangles her abuser to death with her legs—while her would-be rescuer and declared soul mate, Carter/Hawkman, is incapacitated by her mother, Queen Khea, in dual demonstrations of aggressive feminine strength (Figure 1).

Figure 1: Demonstrations of Feminine Aggression



Brightest Day #13 (Johns, 2011:18-19)