Abstract

In the late 1980s, Ann Nocenti became the principle writer on the Marvel comic book, Daredevil, the second woman to be lead creator on the book and the first to write a significant run on an ongoing basis. Nocenti integrated themes relating to social justice, violence and the treatment of children into the narrative. She also shone the spotlight on the supporting female cast members in a way that was original and refreshing. In this article, Nocenti’s challenging of feminine archetypes, such as the housewife, the temptress and the Barbie Doll, reflects ideas of mutable identities, promoted by second-wave feminism. Examining her writing of Karen Page, Typhoid Mary, Brandy Ash and Number Nine, this article argues that, despite the comic centring around a male superhero and with a predominantly male readership, Nocenti succeeds in introducing a more nuanced picture of women and pre-empting some of the changes in the promotion of female characters now apparent in the industry.

Highlights

  • Comics are great because they’re all things

  • X, page 5 of 24 surveys in the 1990s point to comic book readership being over 90% male at that time (Scott 2013; Lavin 1998)

  • This survey of the use of four female characters in Ann Nocenti’s run in Daredevil in the late 1980s demonstrates a progression about increasingly integrating feminist ideas to challenge archetypal notions of female roles in 20th century America

Read more

Summary

Journal of comics scholarship

Peer Review: This article has been peer reviewed through the double-blind process of The Comics Grid: Journal of Comics Scholarship, which is a journal published by the Open Library of Humanities. Hagan, ‘Touch Me/Don’t Touch Me: Representations of Female Archetypes in Ann Nocenti’s Daredevil ’ (2019) X(X): X The Comics Grid: Journal of Comics Scholarship. Nocenti’s challenging of feminine archetypes, such as the ­housewife, the temptress and the Barbie Doll, reflects ideas of mutable identities, promoted by second-wave feminism Examining her writing of Karen Page, Typhoid Mary, Brandy Ash and Number Nine, this article argues that, despite the comic centring around a male superhero and with a predominantly male r­eadership, Nocenti succeeds in introducing a more nuanced picture of women and pre-empting some of the changes in the promotion of female characters apparent in the industry

Introduction
Superheroes and Jungian Archetypes
Conclusion
Editorial Note
Findings
Typesetting queries
Full Text
Published version (Free)

Talk to us

Join us for a 30 min session where you can share your feedback and ask us any queries you have

Schedule a call