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Queering the Western? Questions of Genre, Gender, and Normativity in Rikke Villadsen’s Et Knald Til (2014)

By Charlotte Johanne Fabricius

 

How can one queer a comics genre – especially one rooted in patriarchal tradition, rife with male gaze and stereotypical gender roles? I consider ‘queering’ to be not only an inclusion of nonnormative gender and/or sexual identities, but a broader strategy of ‘making strange’[i]. Furthermore, I consider the comics medium to be an especially interesting site in which to investigate such ‘strangeness.’ This idea has previously been offered by, amongst other, Ramzi Fawaz, who, in The New Mutants (2016), draws upon queer theorist Eve Kosofsky Sedgwick’s idea of queerness as “gaps, overlaps, dissonances and resonances”, which manifest themselves as “formal gaps, overlaps, dissonances, and resonances of comic book visuality.”[ii] I speak of queering as not only a ‘making unfamiliar’, but also of ‘making possible’ different futures and logics than presented in traditional version of a genre. In the following, I investigate one such attempt, the comic Et Knald Til (Another Bang), which has been characterised by publishers as an ‘erotic Western’.

Et Knald Til[iii] is written and drawn by Rikke Villadsen, published in 2014 by the Danish Publishing House Aben Maler, and nominated for a Ping Prize for Best Danish Comic Book in 2014. It tells the story of a quintessential Western town, inhabited by cowboys and loose women. An outlaw with a price on his head comes to town, kills the men who try to stand in his way, solicits a prostitute – who explodes after their intercourse – and has a drink at the saloon before retiring to a room in the same establishment. Parallel to these goings-on is the story of a young woman in the town who dreams of being a man, so she can leave the town to go adventuring. When the outlaw arrives, she steals his horse and the clothes of one of his victims and sets out. When she starts menstruating, however, the horse recognises her sex and throws her off, leaving her to an uncertain fate. The story concludes with the outlaw waking up in his room only to discover that he has been transformed into a woman identical to the one whose story the reader has been following.

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Posted by on 2017/04/03 in Gender, Guest Writers, Women

 

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Manga Studies #3: On BL manga research in Japanese by Jessica Bauwens-Sugimoto

As with the larger field of manga studies, the earliest attempts at theorizing what we now call Boys’ Love (hereafter BL) manga were made by Japanese critics and authors in the 1980s when the genre itself surfaced. Academic BL studies, however, had to wait until the 2000s, with some key works published after 2005, and these are the main focus of this article.

The first analyses of the roots of BL manga were written by Nakajima Azusa.[1] She traced the genre back to shōnen’ai manga (boy love)[2], stories about romantic and sexual love between boys that were serialized in shōjo [girls] manga magazines.[3] While shōnen’ai has become a popular loanword within non-Japanese manga fandom, in Japan, the most widespread term — not just for graphic narratives, but also novels, audio-dramas, and games — is BL, which overwhelmingly tends to signify the commercially published variant of this cross-media genre as distinct from the fandom-based, and often more sexually explicit yaoi variant. The shōnen’ai stories of the 1970s were revolutionary as they replaced the conventional girl protagonists of shōjo manga with boys, and they appealed to female fans in a way which went beyond the act of reading. In her early essays, Nakajima dissected not only BL narratives as such but also fans’ motivations for consuming and creating them. However, her psychoanalytical focus was often interpreted as fans of the genre being unable to cope with societal gender roles, to the extent of being, at best, escapist, and at worst, pathological. Nakajima herself was an author and editor of BL literature (which is often accompanied by single-image manga-style illustrations), and she played a seminal role in June (1978–2012), the first magazine dedicated to BL manga and fiction.[4] It goes without saying that her creative involvement in the formation of the genre shaped also her stance as a critic.

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Posted by on 2014/07/29 in Guest Writers, Manga Studies

 

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Early manga translations in the West: underground cult or mainstream failure? by Martin de la Iglesia

The comic market in the Western world today is heterogeneous and complex. However, I suggest it can be divided into three main segments, or groups of readers (see also the American market commentaries Alexander 2014, Alverson 2013): the first segment are manga fans, many of which also like anime and other kinds of Japanese pop culture. The second segment are comic fans in a narrower sense, who, at least in America, read mostly superhero comic books, and other comics from the genres of science fiction and fantasy. These are the ‘fanboys and true believers’ that Matthew J. Pustz writes about in his book Comic Book Culture (Pustz 1999). Finally, the third segment is the general public. These readers are not fans, but only casual readers of comics – mostly so-called “graphic novels”, newspaper strips and collections thereof, and the occasional bestseller such as the latest Asterix album.

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Posted by on 2014/07/14 in Guest Writers, Manga Studies

 

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