TOP FEMALE/MALE FIGHTS IN COMICS #4

Thundra first appeared in 1972's FANTASTIC FOUR #129,courtesy of Roy Thomas and John Buscema, replacing Medusa as the distaff member of the villainous Frightful Four (even as, around that same time, Medusa displaced the Invisible Girl from the starring hero-team). Despite her alliance, Thundra had no particular interest in being a super-criminal, or doing anything except proving female superiority by beating the stones off the orange carapace of the FF's strongest member, the Thing. However, a lot of these early fights were pretty short of duration, as if editor Thomas was trying to keep the two combatants from having any prolonged bouts, perhaps to whet the fans' appetites for more. Not until MARVEL TWO IN ONE #56, about seven years after Thundra's premiere, did the redheaded amazon and the orange-skinned "idol o'millions" have a fight of a respectable length of roughly four pages (as I recall; can't find the damn issue). And even here, collaborators Gruenwald, Macchio and Perez gave Thundra a bit of a handicap, for as John Byrne's cover shows, the Thing has to fight with one arm in a sling. It's still the best Thing-Thundra fight I've seen, though.

Thundra's one of those characters who never quite seemed to find her mission in the Marvel Universe, possibly because of being retroactively tied in with the futuristic "Femizon" race that had first appeared, Thundra-less, in SAVAGE TALES #1 (1971). The tie-in seemed a cute continuity-nod at the time, but it may have handicapped the character's development. Recently an alternate-world version of Thundra used a kind of artificial insemination to give birth to the Daughter of the Hulk (who's under consideration for an entry on this blog). It would be ironic if the character of Thundra has become better-known in present-day Marvel for the quintessentially-feminine aspect of maternity than for being a world-class butt-kicker.

TOP 50 FEMALE/MALE FIGHTS IN COMICS: #3

This was the third encounter of Green Lantern with his amorous enemy Star Sapphire, who served as a good reflection of the hero's own attitude toward women. The Lantern didn't want to marry Carol Ferris unless she loved his alter ego more than his heroic super-identity-- basically a reworking of the Superman/Clark Kent/Lois Lane threesome. So thanks to some helpful space Amazons, Carol Ferris is transformed into Star Sapphire, who, in addition to being able to manipulate energies like Green Lantern, wanted him to quit being a hero and become her "consort" while she ruled over the space Amazons. So for once what the cover copy calls a "super-battle of the sexes" has both physical and psychological significance.

The battle itself isn't that long-- probably a little under two pages. But given the fact that the hero swears to become eternally whipped if he loses, the conflict has more resonance than those from the earlier two appearances of Star Sapphire, scripted by her co-creator John Broome. Here scripter Gardner Fox provides the script while SS's artistic co-creator Gil Kane furnishes one of his most striking covers of the period.

TOP 50 FEMALE/MALE FIGHTS IN COMICS: #2

To cite my next choice I have to qualify the last post's promise to focus only on "'tearing down the house' donnybrooks" insofar I do think there are some worthy contenders for the Top 50 "honor" where the fight-scenes may be more abbreviated, yet may also have more significance in other ways.

Take 1968's Shooter-Swan tale from ADVENTURE COMICS #368, "Mutiny of the Super-Heroines." For once in a DC comic of this period, the cover scene is accurate. The heroines, given brainwashing and amped-up powers by a futuristic "feminazi" dedicated to converting Earth into a matriarchy, do indeed kick the male heroes out of their own clubhouse. That fight-scene lasts only a page, but one might assume that there's a little more struggle going on between the panel-borders, not least because a couple of characters are never even seen engaged in fighting (Ultra Boy and Dream Girl, if you care). Then the next and final fight lasts even less than a page, whereupon the villain's plan is defeated thanks to one of the heroines, namely Supergirl, breaking her brainwashing.

One interesting development is that for once, the male heroes are totally unequal to the threat. After they get their butts kicked the first time, leader Invisible Kid suspects something weird's going on but neither he nor anyone suspects that their new guest from a matriarchal culture just might have something to do with it. And when said villain is standing around talking up her girl homies into making Earth into a matriarchate, do the guys consider the option of, say, avoiding a direct confrontation with their brainwashed comrades, capturing the villainess and forcing her to undo the brainwashing? Ah, that would be a "no." They waltz in the second time, as if to avenge their male pride, and promptly get their butts kicked all over again.

I suppose that ultrafeminists would cavil at the motivation given as to how Supergirl breaks her enslavement: jealousy does it when another heroine, Shadow Lass, openly fancies breaking Supergirl's old boyfriend Brainiac 5 to her will. But that seems a petty complaint to me.

It's also significant that the very physical means of this gender conflict contrasts with an earlier Legion story on the same theme. In 1964 Jerry Siegel crafted "Revolt of the Girl Legionnaires," in which the girls fell victim to the hypnotic influence of a Queen Azura from the planet (not making this name up) "Femnaz." Here too the girls beat the guys, but all of them used Delilah-esque methods to romance the guys and lure them into traps, rather than fighting them. Even Supergirl uses a trap to conquer Chameleon Boy, which seems like gilding the lily since with her powers she could have tied any shape he assumed into knots. But those were the times...

TOP 50 FEMALE/MALE FIGHTS IN COMICS: #1

Some time back I contemplated the idea of compiling a best "female vs. male" fights in the comics, since I've argued before that comics show a penchant for depicting such conflicts that are for some audiences harder to credence in other media (particularly those using living actors). So in the future I'll seek to chronicle the 50 most hard-hitting "tearing down the house" donnybrooks between the inhabitants of Mars and the denizens of Venus that I can find in the comics. "Comics" here includes not only American comic books but also manga and comic strips, though I doubt that the strips will have much representation beyond Modesty Blaise and Mammy Yokum.

(Oh, and though I've styled this "#1," none of the 50 is appreciably better than the other 49, as is implied by those godawful AFI countdown-listings.)

The first selection is from SUPERBOY #2 by Tom Grummett and Karl Kesel, in which the titular hero has his first rip-snorting rhubarb with the equally-strong Knockout. As often happens when the hero first encounters an opponent, this adventure ends with a win for the villain. The two continued their masochism tango throughout the early years of the series but in this case, the first time was definitely the best time.

SOOPED UP

Given that Superman was the de facto mascot of DC Comics, it was almost de rigeur to see the hero's powers bestowed temporarily on characters not only in the Superman books but in any title with some degree of SF-content, such as BLACKHAWK and SPACE RANGER. The latter two sported covers where a distaff support-character gained such temporary super-powers (Lady Blackhawk for the one, some secretary-chick for the other). But aside from the mainstays of the Superman titles themselves, Batwoman seems to be the only distaff support-character who sported super-powers two times, both in WORLD'S FINEST. I guess one could regard this as a Superman title given its raison d'etre of continually teaming the Man of Steel and the Big Bat, but Batwoman was an emigre from the Batman books. At the time of both adventures, the editor on the Bat-books and WF alike was Jack Schiff, so some Bat-related bleed-through was to be expected. (Later Mort Weisinger, King of his Castle of Superman-books, would assume the WF editorship as well.)

Batwoman's first super-adventure, from WF #90 (Sept-Oct 57), shows us that the first thing a woman does when she gets super-powers is to spy on the boys' club to find all their important stuff. Of course, in a later era she might have been checking out another kind of stuff but not in 1957.

The second super-tale, from WF #117 (May 1961), puts Batwoman in a slightly more combative role as she clashes with the Big S. (Their "battle" is pretty much a one-panel duplication of the cover image. DC wasn't big on fight-scenes in '61.) But

anyone who might've hoped that Batwoman was striking a blow against Superdickery would be doomed to disappointment, as she only fights the hero because she's fallen under the control of Lex Luthor.

Incidentally, though this has nothing to do with superheroine themes, I submit that the weird-ass creature sharing the cover with the heroes may well be the single silliest-looking monster in the history of Silver Age DC. It's perhaps even sillier to learn that "Golanth," as the creature is named, is not a living thing but was actually given this improbable design by the aforementioned Luthor, which might make one wonder what the mad scientist had been smoking that day.

VALE OF ILLUSION

This isn't quite the same as my adventure-heroine postings, but the pic is interesting in that it shows Vicky Vale gloating to herself about how she's uncovered the secret of Batman's ID and how she's going to expose him for the sake of a scoop. This despite the Bat's value to crime prevention, his having saved her life a few times, etc.

Vicky may've been designed as Batman's version of Lois Lane, but somehow I thought the creators gave her an almost *sadistic* air when it came to her indirect torments of Batman, far beyond any of Lois Lane's shenanigans.

THE FEMININE WILL PART II

Usually, due to the strength disparities between male and female homo sapiens, the catfight is the primary method by which modern entertainment illustrates the feminine will to power. While I've shown several examples on this blog of fantasy-situations in which women triumph over men-- sometimes with erotic overtones, sometimes not so much-- the womano-a-womano battle is one that automatically seems to perk up erotic interest. Male audiences seem to be particularly attuned to the excitatory appeal of the catfight, but there seems to be (from what one can judge on the Internet) a sizeable female audience also interested in the phenomenon from an erotic standpoint. On one messageboard devoted to the subject, a purportedly-female poster even disparaged the tendency of TV shows like XENA to show the heroine defeating men and women alike. Apparently when the poster saw a female heroine kick male butt, this automatically destroyed the poster's ability to credence that a female opponent could give Xena any trouble.

This need for credibility in a female/female fight may account for the widespread appeal of the catfight, at least a little better than Jerry Seinfeld's more famous "maybe they'll kiss" explanation. After all, Jerry, if all you want is a lesbian encounter, why do you need the catfight at all? It's not like lesbo action is hard to find.


I'm led to the conclusion, then, that whereas the fight-fantasy in which a female triumphs over a bigger and stronger-looking male, which I examined here, is one more openly defiant of consensual reality, in that "the normal rules of weight and mass" do not apply. The catfight scenario might then be seen as more prone to stick to said reality, resulting in a fictional world where women can only exercise the "will to power" against other women.