Oct 072015

Berlatsky, Noah. 2015. Wonder Woman: bondage and feminism in the Marston/Peter Comics, 1941-1948. New Brunswick, New Jersey : Rutgers University Press

Wonder Woman spanking a man in Roman soldier uniform

Wonder Woman spanking a man in Roman soldier uniform

Growing up, I had the notion that Wonder Woman had been created in the past as a perfect feminist icon, and only later was the character sexualized by other creators. In fact, Wonder Woman was “always, already” as much a figure of fetishistic fantasy as she was a feminist role model, patriotic symbol, or heroine for children. The original seven-year run of comics, written or co-written by William Moulton Marston and illustrated by William Peter displayed the kind of deep psychosexual weirdness usually only found in 19th century children’s books. (I say that as a fan of deep psychosexual weirdness.) Noah Berlatsky’s book explores just how queer and feminist those stories were; as the author puts it, “a flamboyantly gendered mess.”[Pg.169] Continue reading »

Sep 202012

Comics Alliance has an essay by Sarah Horrocks on Guido Crepax’s trippy bondage/erotica comic Bianca.  Crepax is probably best known outside of Italy as the artist of the Story of O and Emmanuelle comics adapations.

Like Alan Moore and Melinda Gebbie’s Lost Girls, Bianca is more obsessed with artistic execution than with sexually arousing its audience. In fact, I think that for the most part, Bianca fails as porn. Indeed, if it were more successful as porn, it would probably be in print in English.

Continue reading »

Aug 182012

Look at the kink tag on Tenebrous Kate’s blogspot and you’ll find a delightful array of vintage kink, flagellation and bondage material. The only question is where to begin?

Here’s a glimpse into “Le Musee des Supplices” (translation: “The Torture Museum”) by Roland Villeneuve, published 1968.

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Just your daily dose of WTF

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Oct 242011


From the goofier end of the Silver Age comes this little oddity. The image reads a little like a dream, with the dreamer’s aggression directed at the image or effigy of the beloved, instead of the beloved itself, who watches heplessly.

Aug 092011

Silk Spectre: Did the costumes make it good?

Silk Spectre: Dan…?

Night-Owl: Yeah.

Night-Owl: Yeah, I guess the costumes had something to do with it. It just feels strange, you know? To come out and admit that to somebody.

Night-Owl: To come out of the closet.

–Alan Moore and Frank Gibbons, Watchmen, Chapter 7, pg. 28

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Apr 202011

The Hooded Utilitarian has a series of posts on the deep, deep psychosexual weirdness of the early Wonder Women comics, mainly from a post-Freudian perspective.

wonder woman

The writer argues that Marston’s ideal of “loving submission” is a parent-child relationship, distinct from the usual patriarchal “rule of law”. It isn’t enough to obey the law and keep your own thoughts; you must love your authority figure (shades of the ending of Orwell’s Nineteen Eighty-Four.)


The impression I get from reading writer Marston’s stories is instability of roles and relationships. Wonder Woman shifts from dynamic omnipotence to helplessness and back in an instant. In one panel, she’s throwing around war profiteers like they were children, in the next, her mother Queen Hippolyta shows up and lifts her up like she’s a child. Harry Peter’s art accentuates this by playing fast and loose with perspective and scale. In the aforementioned scene, Diana is drawn as if she were child-sized relative to Hippolyta.


Ideas like this, of sexuality sublimated into fantasies of mind control, hypnosis, disguises, role-playing, transformation and the like, permeated much of popular culture, waiting to give people their first taste of kink.

Mar 212011

The promotional website for the book Permanent Obscurity has a brief history of fetish and bondage artist Eric Stanton and his business relationship with Irvine Klaw.

Biographical facts about his life are often contradictory and murky; and sometimes he would contribute to this misinformation personally. There’s even some question of his real name: was he born “Ernest Stanzoni” as claimed in the huge Eric Kroll coffee table book? Or is his birth name “Ernest Stanten,” as claimed by Belier publisher and personal friend and associate, J.B. Rund?

Most of what I know about the sexploitation era and the subgenre of what was then labeled “bizarre,” which today would be assigned fetish culture or kink, I’ve learned through tracking Stanton. He remains, in some strange way, a central figure for me (my own personal Dante) whose life intersected with other curious characters of the day, artists and business people, gangsters and hacks … shadowy and mythologized figures I’ve come to admire and who I never grow tired of hearing about: Irving Klaw, Bettie Page, Gene Bilbrew, Lenny Burtman, Eddie Mishkin, Stanley Malkin…. And then, of course, there’s Steve Ditko, Spider-Man co-creator and Stanton’s friend-as well as his studio mate of 10 years.

(ellipsis in original)

According to this, Stanton would self-publish and self-print his own works with his own photocopier. I’ve always been interesting in the means of production and distribution for works that had such a huge influence on the history of kink, and it seems fitting that so much of it was produced on a shoestring, in a confluence between people who were seeking a market niche and people who were seeking their kink.

PS: I’d be interested to know what Ditko, known for espousing a harsh Objectivist philosophy in his work, would have made of Stanton’s fetish art. Then again, there’s something a bit kinky in Ditko’s Objectivist characters. The Question wore a rubber mask that made him look like he had no facial features at all, just smooth skin. Mr. A, an even harsher character, wore a steel helmet that gave him unmoving, impassive features, as well as steel gloves that locked on. It struck me as fitting that a character so committed to an ideology would go to such extremes in concealing his own humanity and in not having to touch the messy, complicated human world. (Both characters were the inspiration for Rorshach in Alan Moore and Dave Gibbons’ Watchmen.)

Nov 202010

Pleasure Dome, by Megumu Minami, is a collection of 5 yaoi manga stories. There is a lot of non-consent, bondage and “ravishment” in these stories, plus an absinthe enema. There’s also a strong theme of role reversal, switching back and forth between who is on top and who is one the bottom.

Of the five stories in this collection, two use real-world historical conflicts as settings.

“Desire on Fire” is set during the British colonization of India. A British officer attempts conquer an Indian prince, but ends up captured instead. Ultimately, the prince, torn between his duty to his people and his love for the officer, exiles himself and chains himself to a rock, waiting to die, where the officer finds him, out for vengeance.

In the afterward, the author says this is very loosely based on the Buddhist story of Angulimala, a bandit who reformed under the influence of Buddha.

The Japanese are not strict and devout Buddhists, but there is something very dramatic and attractive about various characters that appear in Buddhism. I’m sure Christians feel something similar when they hear about the betrayal of Jesus by Judas, the Crucifixion, and other biblical stories.

To other people around me, I may have looked like a very devout Buddhist that was touched by the religious significance of the location. However, I must confess. When I closed my eyes, I was thinking more of the bare feet of Angulimala dashing about.

I wonder if I’ll ever be punished for my blasphemy.

The second story, “Hell for a Fallen Angel”, refers to the persecution of Catholics in feudal Japan. The male owner of a brothel is tasked to torment a male Christian and get him to give up his faith.

Christianity has a definite foreign feeling. Some of the words uttered by Japanese Christians back in the day like “Biruzen Santa Maria”, “Rusanchiman” and others end me into a dreamy state.

Of the remaining three stories, one is set in Medieval Europe and loosely adapts “The Song of Roland”, while the other two are set in Europe in some Edwardian or late Victorian period. The settings seem to be mainly there for variation in costume and character design.

So, we have various historical settings and religious myth used as backdrops for male-male erotica. From a Japanese perspective, none of these are set in the here and now, and arguably their settings are fair game for use as background.

I’m not sure an Indian person or a devout Buddhist would be too pleased with “Desire on Fire,” but I think this is an example of using real world settings, even controversial ones, as inspirations for sexual fantasy. It is not only the West using the East for its own imaginative purposes; Japanese may indulge their own “Occidentalism” by reading these stories. The author herself (?) seems only slightly concerned about the shift between the reality of atrocity and the fantasy of sadomasochistic, homoerotic romance.

At a certain remove in time and space, atrocity and injustice become fantasy material.

Jul 092010

Alan Moore’s 25,000 years of Erotic Freedom is a long essay that lays out Moore’s theory that pornography should be integrated into society. It’s only relatively recently that any shame attached to erotic depiction. Before then, there was a beautiful tradition of erotic high art, which Moore says goes back to the Venus of Willendorf.

The problem started with Christianity, or rather the ascetic Christianity of the late Roman empire. It wasn’t decadence that did in the Romans, but becoming a Christian, and therefore an-erotic and xenophobic, society. There were brief flowerings in the Rennaissance and the Englightenment, but thing really went wrong with the Victorians. (This is a pre-Foucault view of the repressive hypothesis.)

Implicitly, it was acceptable to enjoy sexual imagery as long as you accepted also that such acts were sinful and felt suitably ashamed and guilty if you were in any way aroused by their depiction. This established the immediate link between the perusal of pornography and intense self-loathing or embarrassment, which still exists today throughout most of the Western world.

Pg 16

For the purposes of this discussion, there’s the problem of where does BDSM porn, and BDSM in general, fall into Moore’s schema? Is it an expression of the humanizing erotic impulse, or of the corrupting influence of violence and shame?

Even in the golden age of written and graphic pornography, with works like Fanny Hill or Gerda Wegener’s illustrations or Aubrey Beardsley’s drawings or the like, BDSM acts are frequently in there somewhere, especially flagellation, but also a well-turned high-heeled boot or shoe or the like.

In those [Victorian] times, long before the advent of the adult video outlet, city businessmen returning homeward for a wekened with their spouse or partner would call in at some backstreet establishment and pick up a gaslight equivalent: just as theater predates cinema, so too did fully scored dramatic home pornography precede the skin-flick. Pornographic playlets could be purchased, ranging from two-person dramas through to full ensemble pieces if the neighbors were agreeable. These publications came with sheet music, so that if one of the participants were musically inclined then he or she could sit at the piano and provide a vigorous accompaniment to whatever activity was taking place upon the hearth rug or the horsehair sofa. (Yes, I know it sounds ridiculous, but was told that by Malcolm McLaren, and if you can’t rust Malcolm McLaren then whom can you trust?)

Pg. 18

This isn’t really a historical book or even an essay. It’s more like have a pub conversation with Moore where he’s spinning out some off-the-cuff theories. You don’t bring a bibliography to a pub conversation.

Just to recap, then: Sexually progressive cultures gave us mathematics, literature, philosophy, civilization, and the rest, while sexually restrictive cultures gave us the Dark Ages and the Holocaust. Not that I’m trying to load my argument, of course.

Pg. 39

As a general rule, I think this holds up: the better the status of women in a society, the less restriction there is on sexual expression. But I wouldn’t stake my reputation on that. I’d like to see some kind of study comparing the two factors: an index of pay equity, reproductive rights, etc, versus restrictions on depictions of sexuality, sex work laws, etc. But it would involve so many subjective issues that I don’t think it would be a solid piece of research.

So, what is the relationship between a society’s sexual expressiveness and its progressiveness on a social scale?

I think that this is a much thornier and complex issue than some people would like to make it. Anti-porn feminism wanted to create the equation of “Pornography is the theory, rape is the practice.” Sex-positive types say there’s no connection at all, that pornography actually functions as a release valve for desires that would otherwise fester into violence.

It’s said that liberal democracies are good for market economies, but market economies aren’t necessarily good for liberal democracies. I see this as analogy to the relationship between sexual expression and progressiveness.

I tend to agree with Moore’s hypothesis, and there’s a bit of a manifesto that I can get behind: that there should be ambition on the part of porn’s creators, and porn should not be consumed in shameful secrecy. These are the ideas that informed Moore’s Lost Girls trilogy, which aimed to be part of an art-porn historical tradition, to be a coffee-table-book display artifact, to invest literary and artistic skill into porn and stimulate discussion.

Still, as I historian I want a more rigorous study of the history of porn, and one that’s more nuanced too.