Impossibly muscular men and voluptuous women parade around in revealing, skintight outfits, and their romantic and sexual entanglements are a key part of the ongoing drama. Such is the state of superhero comics and movies, a genre that has become one of our leading mythologies, conveying influential messages about gender, sexuality, and relationships. Love, Sex, Gender, and Superheroes examines a full range of superhero media, from comics to films to television to merchandising. With a keen eye for the genre’s complex and internally contradictory mythology, comics scholar Jeffrey A. Brown considers its mixed messages. Superhero comics may reinforce sex roles with their litany of phallic musclemen and slinky femme fatales, but they also blur gender binaries with their emphasis on transformation and body swaps. Similarly, while most heroes have heterosexual love interests, the genre prioritizes homosocial bonding, and it both celebrates and condemns gendered and sexualized violence. With examples spanning from the Golden Ages of DC and Marvel comics up to recent works like the TV series The Boys, this study provides a comprehensive look at how superhero media shapes our perceptions of love, sex, and gender.

Acknowledgments -- List of Illustrations -- Introduction: Representation Matters -- Chapter 1: "The Sexier the Outfit, the Fewer Questions Asked": Wonder Woman -- Chapter 2: "When You Go Out At Night, You Won't Be Alone": Batgirl(s) and Birds of Prey -- Chapter 3: "Somebody Has To Save Our Skins!" Padmé Amidala, Leia Organa, and Jaina Solo in Star Wars -- Chapter 4: "No Such Things as Limits": The X-Women -- Chapter 5: "Slayers. Every One of Us": Buffy the Vampire Slayer -- Chapter 6: "Part of Something Bigger": Ms. Marvel(s) and Captain Marvel(s) -- Conclusion: Superwomen, Diversity, and Representation -- Bibliography -- Index

"It's no secret that superhero comics have historically included problematic depictions of women, racial and sexual minorities, and others who do not fit the standard straight white male model of a hero. Rather than focus on these negative depictions, Langsdale wants to take a more positive approach by looking at recent comics that can be called feminist, with female heroes and creators of all genders that tell new types of stories within the genre. Although these books have usually been marginalized and have suffered premature cancellation, she argues that this marginalization has enabled innovative stories to be told in ways that not only advance the genre but also interact with contemporary social justice concerns. Incorporating intersectionality and feminist theory, Langsdale analyzes complete stories focused on various heroes -- Spider-Woman, America Chavez, the Unstoppable Wasp, and Ironheart. By exploring different elements of these characters, e.g., Spider-Woman's pregnancy, America's identity as a queer mestiza, and the Wasp's creation of a female-run STEM facility, she examines what makes these texts feminist and how they interact with larger issues of inclusion and social justice in ways that more traditional superhero narratives don't and probably can't. She also examines how these characters' appearances in other media have played a part in their development. By focusing on marginalized runs of comics, Langsdale demonstrates how even these can make powerful statements about feminism and the world"--

From Superman, created in 1938, to the transmedia DC and Marvel universes of today, superheroes have always been sexy. And their sexiness has always been controversial, inspiring censorship and moral panic. Yet though it has inspired jokes and innuendos, accusations of moral depravity, and sporadic academic discourse, the topic of superhero sexuality is like superhero sexuality itself—seemingly obvious yet conspicuously absent. Supersex: Sexuality, Fantasy, and the Superhero is the first scholarly book specifically devoted to unpacking the superhero genre’s complicated relationship with sexuality. Exploring sexual themes and imagery within mainstream comic books, television shows, and films as well as independent and explicitly pornographic productions catering to various orientations and kinks, Supersex offers a fresh—and lascivious—perspective on the superhero genre’s historical and contemporary popularity. Across fourteen essays touching on Superman, Batman, the X-Men, and many others, Anna F. Peppard and her contributors present superhero sexuality as both dangerously exciting and excitingly dangerous, encapsulating the superhero genre’s worst impulses and its most productively rebellious ones. Supersex argues that sex is at the heart of our fascination with superheroes, even—and sometimes especially—when the capes and tights stay on.

The superheroes from DC and Marvel comics are some of the most iconic characters in popular culture today. But how do these figures idealize certain gender roles, body types, sexualities, and racial identities at the expense of others? Hot Pants and Spandex Suits offers a far-reaching look at how masculinity and femininity have been represented in American superhero comics, from the Golden and Silver Ages to the Modern Age. Scholar Esther De Dauw contrasts the bulletproof and musclebound phallic bodies of classic male heroes like Superman, Captain America, and Iron Man with the figures of female counterparts like Wonder Woman and Supergirl, who are drawn as superhumanly flexible and plastic. It also examines the genre’s ambivalent treatment of LGBTQ representation, from the presentation of gay male heroes Wiccan and Hulkling as a model minority couple to the troubling association of Batwoman’s lesbianism with monstrosity. Finally, it explores the intersection between gender and race through case studies of heroes like Luke Cage, Storm, and Ms. Marvel. Hot Pants and Spandex Suits is a fascinating and thought-provoking consideration of what superhero comics teach us about identity, embodiment, and sexuality.

Superheroes and Masculinity: Unmasking the Gender Performance of Heroism explores how heteropatriarchal representations of gender are portrayed within superhero comics, film, and television. The contributors examine how hegemonic masculinity has been continually perpetuated and reinforced within the superhero genre and unpack concise critiques of specific superhero representations, the industry, and the fan base at large. However, Superheroes and Masculinity also argues that possibilities of resistance and change are embedded within these problematic portrayals. To this end, several chapters explore alternative portrayals of queerness within superhero representations and read the hegemonic masculinity of various characters against the grain to produce queer possibilities. Ultimately, this collection argues that the quest to unmask how gender operates within superheroes is a crucial one.