Posts Tagged ‘crossdressing’

Dudley Jones – Crossdressing Villain

Saturday, January 16th, 2010

On the subject of stereotypes in comics Jet Heer recently wrote a column titled “Mickey Mouse, Homophobe“. Heer presents several examples of gay stereotypes used in comic strips, of which the most famous character is Mickey Mouse in a strip from 1931. In a second post, Heer presents earlier evidence with a copy of a Nisby the Newsboy strip featuring a street tough dressed up as a “real fairy” in a ballerina costume. Where Heer’s illustrations are disparaging, he points to Robert Boyd’s piece highlighting examples from the early 1930s in which E. C. Segar has Popeye cheerfully wearing women’s clothing.

Granted today it’s understood (at least by some) that crossdressing isn’t an automatic confirmation of non-heterosexuality.In some recent reading I came across “The Sandman Meets with Murder” from Adventure #46 (January 1940). The typically thin plot involves Wesley Dodds reconnecting with college buddy Dudley Jones. Dodds and Jones have a mutual college friend, Charley Hall who’s an advertising wunderkind. They try to pay a visit to Hall but discover Hall and his fiancée are out. Suspecting something amiss, Dodds returns as Sandman and finds Hall murdered. Packed into the story’s ten pages is a gun-toting blond and her dead twin, extortion, counterfeiting, and a conniving, crossdressing villain revealed as Wesley’s friend Dudley Jones. Jones crumples to the floor after accidentally, fatally shooting himself. His disguise revealed, Jones confesses his string of crimes motivated by hate.

Extortionist, counterfeiter, murderer. How else can the villain be made more vile? Turn him into a crossdresser because it’s such a logical choice for disguise. A big thank you to the uncredited writer for reveling in clichés.

Art by Bert Christman

Blue Snowman

Thursday, October 1st, 2009

bluesnowman1Contributed by Ronald Byrd

School teacher Byrna Brilyant’s scientist father died while working on his invention of “blue snow,” a special form of precipitation that freezes everything it touches. This invention was intended to “serve humanity,” although precisely how seems rather vague. Thinking to put her father’s work to more profitable use, Byrna creates the masculine identity of the Blue Snow Man and unleashes the petrifying power of blue snow upon the farming community of Fair Weather Valley demanding each farmer’s “life savings” in return for the chemical antidote that will free crops, livestock, and people from the snow’s effects. The Blue Snow Man is discovered in “his” mountain sanctuary by Wonder Woman, who forces “him” to defrost the valley. The Blue Snow Man, like many of Wonder Woman’s enemies, is sentenced to prison on the Amazon penal colony Transformation Island, but in 1948 she and seven other female super-villains escape and pool their talents as Villainy, Incorporated; led by the Saturnian slaver Eviless, the evil eight are again defeated by Wonder Woman. Byrna, also known as the Blue Snow Man, retained her male appearance and name in this second appearance, but what if anything is to be made of her choice of criminal identities with regard to her sexual orientation is unknown.

Art by Amanda Conner

Art by Amanda Conner

Blue Snowman made a surprise appearance as a villain on the run from Doctor Mid-Nite and Power Girl in Power Girl #7 by Justin Gray, Jimmy Palmiotti, and Amanda Conner. Described as a “former Wonder Woman foe with gender issues”, Snowman’s guise had been updated to that of a retro-style robot. The blue snow had been adapted for use through technology incorporated into the suit and pipe. Power Girl easily stops Snowman and is then distracted by the appearance of Vartox (a Supermnan foe) who has decided to make her his mate. To expedite matters, Vartox intends to seduce Kara with a pheromone based weapon. Instead, Snowman is seduced and very eager to fulfill Vartox’s desires. Such behavior doesn’t necessarily clarify Byrna’s orientation or gender identity. With Kara unaffected and justifiably offended, Vartox relies on his plan B, a demonstration of his masculinity by fighting an Ix Negaspike, the last of its kind and possibly an example of vagina dentata. Confused and disoriented by the pheromone weapon (and simply comic cannon fodder), Snowman rushes the creature to protect Vartox and is instead swallowed in two gulps by it.

As an enemy of Wonder Woman during World War II, the Blue Snow Man originally, one would assume, existed on Earth-2; following the Crisis on Infinite Earths, history was altered so that Wonder Woman’s golden age adventures never took place, leaving her enemies of that era primarily in oblivion. However, continuity reconsiderations have determined that Wonder Woman’s mother, Hippolyte, was active as Wonder Woman during World War II. It remains unclear if the Wonder Woman Blue Snowman fought was Hippolyte during World War II or Diana in an undocumented adventure. Considering her obscurity, no one will probably lose sleep over the mystery. Prior to Power Girl #7 the only original golden age rogue re-established into current continuity had been Dr. Poison (see Wonder Woman #151 or the entry on Dr. Poison).

The Blue Snow Man possessed no superhuman powers; she originally relied upon a “telescopic snow ray” which she used to create petrifying blizzards and a “defroster ray” to reverse their effect.

This profile was resourced using information from The Encyclopedia of Comic Book Heroes, Volume 2: Wonder Woman, written by Michael Fleisher.

The Blue Snow Man’s only appearances are Sensation Comics #59, 1946 and the later Wonder Woman #28.

© and ® DC Comics. Used without permission. Images provided by Mike S.

Dr. Poison

Thursday, October 1st, 2009

Contributed by Ronald Byrd

In 1942 Doctor Poison (AKA Princess Maru), who disguises her gender via a bulky hooded costume and mask, was the leader of a Nazi spy ring whose ultimate goal was to wreak havoc in the US Army by contaminating the army’s water with “reverso,” a drug that “confuses the brain centers…[making] soldiers do the exact opposite of what they are told.” This plan is foiled by the Amazon heroine Wonder Woman and Doctor Poison is imprisoned, but she later escapes and, in 1943, now working for Japan, grounds all US planes along the front of China via a “green gas” which “enters the carburetor and stops the engine.” Wonder Woman halts this scheme as well, and Doctor Poison is imprisoned on Transformation Island, the Amazon penal colony. She is not seen again until 1948, when she and seven other female super-villains escape and pool their talents as Villainy, Incorporated; led by the Saturnian slaver Eviless, the evil eight are again defeated by Wonder Woman. Throughout most of her first appearance Doctor Poison was believed to be a male due to her disguise, and she retained this “drag king” garb in her later appearances; whether this guise was simply a necessity of assuming power within the male-dominated Axis governments or indicative of something else is difficult to say at this late date.
drpoison1
In Wonder Woman #151 (volume #2), an unnamed grandchild of the original Dr. Poison appears in league with the demi-goddess Devastation. Dr. Poison’s gender remains ambiguous, the only clues being long fingernails and a lipsticked grimace somewhat like the Joker’s. While the continuity of most golden age Wonder Woman stories remains unspecified, it is made clear that Hippolyte, Wonder Woman’s mother, did fight Doctor Poison during the time Hippolyte spent as a heroine in the 1940s. Whether or not the rest of Wonder Woman’s original golden age rogues’ gallery has similarly been re-established into existence is unknown at this time.”

Doctor Poison possessed no superhuman powers but was a chemical genius. She was a spy, Chief of Nazi Poison Division, and Chemical Research Chief of the Japanese army. Since neither Nazi Germany nor Imperial Japan was ruled by a monarchy, precisely what Doctor Poison, a.k.a. Princess Maru, was princess of is unclear.

The Golden Age Dr. Poison first appeared in Sensation Comics #2 (1942) and is later seen in Sensation Comics #24 and Wonder Woman #28. Scan provided by Mike S.

© and ® of DC Comics. Used without permission.

Hypnota the Great

Thursday, October 1st, 2009

hypnota1Contributed by Ronald Byrd

A stage magician who conceals her gender via masculine costume and false facial hair, Hypnota (real name unknown) was accidentally shot in the head during the rehearsal of one of her act’s illusions. Experimental surgery saved her life, but it also released a “blue electric ray of dominance” from her “mid-brain,” granting her the ability to mesmerize others with a glance. Hypnota uses this new talent both in her stage act and in crime, including the selling of her mesmerized victims to slave merchants from the planet Saturn. When Saturn’s slave trade in Earthlings is banned as part of a peace treaty with Earth, Hypnota, hoping to revitalize her source of revenue, steals America’s contingency defense plans against the ringed world in order to foment hostility and break the treaty. Her warmongering efforts are thwarted by the heroic Wonder Woman with the aid of Hypnota’s twin sister Serva, who had been her magician’s assistant as well as an unwilling aide in her crimes. Hypnota, like many of Wonder Woman’s enemies, is sentenced to prison on the Amazon penal colony Transformation Island, but in 1948 she and seven other female super-villains escape and pool their talents as Villainy, Incorporated. Led by the Saturnian slaver Eviless, the evil eight are again defeated by Wonder Woman. Whether or not Hypnota’s masculine garb, which concealed her true gender throughout most of her first appearance and which she retained in her second appearance, is to be taken as anything more than a stage affectation is unclear.

As an enemy of Wonder Woman during World War II, Hypnota originally, one would assume, existed on Earth-2; following the Crisis on Infinite Earths, history was altered so that Wonder Woman’s golden age adventures never took place, leaving her enemies of that era primarily in oblivion. However, continuity reconsiderations have recently determined that Wonder Woman’s mother, Hippolyte, was active as Wonder Woman during World War II. To date, the only original golden age rogue re-established into current continuity has been Dr. Poison.

Hypnota was able to project “blue hypnotic rays” from her eyes and hands. Anyone who fell under the influence of these rays became slaves to her every command. She was also skilled in the use of various stage tricks.

Hypnota first appeared in Wonder Woman #11 (1944) and is last seen in Wonder Woman #28.

© and ® of DC Comics. Used without permission. Scan provided by Mike S

Vaughn Bodé

Thursday, May 14th, 2009

vaughnbode01Contributed by Diana Green

Vaughn Bodé, entrepreneur of underground comics and creator of Cheech Wizard, was self described as “ auto-sexual, heterosexual, homosexual, masso-sexual, sado-sexual, trans-sexual, uni-sexual, omni-sexual.”

Vaughn had a troubled childhood. His mother had to work constantly, due to the drinking of his father, poet Ken Bodé. In response to this, Vaughn immersed himself in fantasy worlds, both those of others and the hundreds of worlds he created.

He had a brief stint in the Army, but was dismissed for medical reasons in 1958. As his greatest refuge from a harsh youth was in art, he went on to Syracuse University, from which he graduated with a BFA and high honors. Some sources give this year as 1960, others as 1965. While at Syracuse, his first published comics work appeared in the student newspaper, the Daily Orange, and his illustrations appeared in the school literary magazine, Vintage. His cover for Vintage #3 is a premonition of his future work, replete with lizards, nubile, buxom women, vivid yet controlled color schemes, and a border that also serves as part of the setting.

In 1961, he married his childhood sweetheart, Barbara. Two years later, their son Mark was born. They divorced ten years later but remained amicable.

The formative years of Bodé’s career were spent in advertising. At this point, he was a fairly typical looking ad exec, with short square haircut and drab business suit. Finding the atmosphere stifling, he submitted work to the East Village Other, a New York underground newspaper that was publishing the early works of Robert Crumb and Spain Rodriguez, among others. Upon hearing from Trina Robbins that his work was being ignored and abused at the EVO offices, Vaughn went in person to see to the matter. This resulted in the creation of an all-comics underground paper, the Gothic Blimp Works. Gothic Blimp was Vaughn’s brainchild, and he became its editor.

Art by Vaughn Bodé

Art by Vaughn Bodé

This served as a catalyst for his strip Deadbone appearing in Cavalier magazine for several years, and for a long run with the character Cheech Wizard in the National Lampoon this time, as a result of exposure to a burgeoning youth culture, Vaughn began to come to terms with his sexuality. He began exploring different outlets for his sexuality and his spirituality. By 1972 he had changed his appearance from corporate nerd to androgynous glamour queen. He also began experimenting with bondage. In 1973, he presented himself as a candidate for sex reassignment surgery, but rejected the idea when female hormones killed his libido. His journey is presented in two autobiographical works, CONFESSIONS OF A CARTOON GOOROO and SCHIZOPHRENIA. The former is an essay written with Vaughn’s unique approach to the language which is heavily influenced by James Joyce and Walt Kelly. The latter is a full color comic story in which Vaughn stands on the moon in Bodé drag (hose, makeup, slit dress/robe, but no falsies) discussing his coming to terms with his sexual identity.

On July 18, 1975, Vaughn was experimenting further with pushing the bounds of his consciousness and his sexuality simultaneously. He was combining autoerotic asphyxiation, the practice of choking one’s self with a noose while masturbating. The noose releases when the subject passes out, supposedly intensifying the orgasm, and bondage. He had done this before, but this time, a necklace became tangled in the loop used for strangulation. The noose did not release, and Vaughn died.

Like Jimi Hendrix and Jim Morrison, Bodé became more of a cult figure in death. His work is more read today than ever. The bulk of his major work is in print through Fantagraphics. Vaughn’s son Mark is a successful cartoonist in his own right and has continued the Cartoon Concerts Vaughn created.

Images are © and ® Mark Bodé. Used without permission.