Using popular culture to analyze a moment in time from the dominant societal perspective can be a powerful tool of cultural analysis and comic-books are arguably one of the most lush bodies of this kind of evidence. Comic-books have been criticized for the sexist and racist imagery over the course of their existence and yet there is very little scholarly critical analysis of the medium. Yet when exploring the cultural analysis surrounding comic-books, bloggers and online reviewers are diving into the deep intersectional problems and triumphs of their beloved literature. When considering sexuality and disability within comic-books, one character is commonly regarded as the treasured disabled heroine: Oracle. Irwin and Moeller identify the top ten stereotypes used commonly in the media to depict disabilities including the object of violence, the “super crip”, the nonsexual and the invalid (3). By exploring Oracle’s complex history we see various troupes which weaken disability stereotypes and perpetuate them, including sexy heroines, women in refrigerators, the “super crip” and the magical time machine.
Sexism within comics-books has been a large issue since their inception, however it is only with feminist critical analysis that we see the complex role that women play within comics and furthermore, how disabled women are used. Heroines often become sex objects through the heteronormative male gaze of comic-books and while female readership is increasing, the depiction of women in comics is still reliant on male readers wanting sexy heroines. Whether it be the provocative costumes, poses and interactions with other characters in the story, women are often melted down into super sex symbols. These female heroes are meant to be sexually accessible by not only male characters but also by the male reader. At times, the only reason why a female hero is introduced into a story is to add sex appeal and a motivating factor; you can see this often times with the various women moving through playboy super hero Bruce Wayne/ Batman’s life. While these women are often powerful, they serve a purpose which lies within a patriarchal system of objectification and disempowerment. Barbara Gordon is one such character that was created to diversify audiences and add sex appeal to the Batman crime fighting team. Starting out as a teenager, Gordon became Batgirl and the love interest of co-sidekick, Robin. While extraordinary for her physical prowess and intelligence, Batgirl was not a well liked character because of her one dimensional construction. It was only when she was shot and paralysed in 1988 by the Joker in The Killing Joke does her character get a dramatic restyling and growing fandom. Her role as a heroine and sex symbol was extremely complicated by the violence she endured. Furthermore, her role as a sex symbol was forever changed because it was implied that she was also raped repeatedly after the attack, which effectively destroys her “super” status as a sex symbol, an innocent girl and a superhero. Her various statuses were effectively melted down to victim and her character dismissed by The Killing Joke writer Alan Moore. Yet, it is fascinating to look at how disability is factored into the sex symbols that heroines are often portrayed as.
A popular and damaging stereotype of those with disabilities is that they are asexual due to their disability, and characters like Oracle complicate this stereotype significantly. Often those with disabilities are burdened by an asexual stereotype which “relies on impressions of disabled people as undesirable; disqualified for marriage or any sexual partnership and reproduction,” essentially a dehumanizing construct (Kim, 482). In Kattari’s article, she notes that “sexuality… love and [expression of] various desires is not usually recognized as a valid expression for people with disabilities” (501). Furthermore, Kim argues that the process of desexualization effectively “separates sexuality from disabled bodies, making it irrelevant to and incompatible with them” (483). While we can see evidence of desexualizating the disabled body in various other popular culture, comic-books and specifically Gordon’s transformation from Batgirl to Oracle, on and off the page is especially complicated. After The Killing Joke, writer Alan Moore had dismissed Gordon’s character, simply using her as motivation. However, writers Kim Yale and John Ostrander chose to takeover Gordon’s character in an attempt the correct the injustice they felt Moore had done to her character. Yale and Ostrander created Oracle, a disabled heroine who became extremely influential due to her technical abilities and strategic intelligence, arguably Oracle became a more powerful heroine then Batgirl ever could. In the hands of writers like Alan Moore, Gordon would have remained a footnote and arguably would have embodied the desexualized stereotype as her status as a sex symbol was forever compromised by her disability. Yet with Yale and Ostrander, they chose to complicate Oracle’s character as she suffered from PTSD, and continued to be a sex symbol for readers. Her relationship with Robin grew as they both took on new names and roles, further
complicating the asexual troupe as she was constructed as sexual, date-able and capable. As a character, Oracle became a triumphal representation of the disabled community with a complex storyline, character development and sex appeal, yet in some senses the win for disability is a win for sexism as well in this case. Further complicating the Oracle character is the objectification and male gaze still used when she is depicted and how the women in refrigerator troupe is a problem for disability and sexuality.
The women in refrigerators trope in Gordon’s story combines objectification and the use of disability to create more complicated storylines for male characters like Batman, Robin and later Nightwing. Gail Simone describes this disturbing troupe as “super-heroines who have been either depowered, raped, cut up or stuck in the refrigerator,” to motivate or make more complex story arches for male characters. Simone published an online list in 1999 of all of the female characters in comic-books who were used for this purpose and recorded almost two hundred at the time. Feminist critics like Anita Sarkeesian with her YouTube channel Feminist Frequencypopularize the critique of the women in refrigerators troupe for today’s readers. Barbara Gordon is a classic example of this troupe as she was used to motivate Batman to seek revenge after the Joker shot Gordon, and because Gordon’s original use was to motivate without gaining any of her own complex storylines. Yet Gordon’s character is even more complicated because of the direction that writers Yale and Ostrander chose to take. Their choice to make Gordon’s character into Oracle falls more actually into what many would expect male superheroes to experience: dead man defrosting troupe. John Bartol describes this trope as “cases where male heroes have been altered or appear to die, they usually come back even better than before, either power-wise or in terms of character development/ relevancy to the reader”. Yet this greatly depends on whether one takes the dominant perspective on disability which is usually abliest or whether one chooses to view disability as not a kind of death sentence. Essentially, by seeing Barbara’s attack as a women in refrigerators trope, one acknowledges dominant abliest ideology which constructs disability as the end of someone’s life or the end of their usefulness. Much like how Moore perceived Gordon’s character, disability becomes a tool to end a woman’s life or usefulness in favour of a man’s storyline. Yet, if one chooses to see Gordon’s fate as the dead man defrosting troupe then disability is no longer a personal disaster but is instead how Gordon becomes the more powerful and complex character Oracle. From this perspective, Oracle exemplifies how disability is not a death sentence in the literal and symbolic sense but can actually be a doorway to empowerment.
Yet even viewing Oracle as an empowered heroine embodying the dead man defrosting trope is filled with tension as arguably this triumph can turn into another negative stereotype of disability: the “super crip”. The “super crip” “stems from the belief that life with a disability must necessarily be horrific and unsatisfying, and as such, we must admire persons with disabilities for being able to live “the way they do”” (www.trinimex.ca). In the case of Gordon, her ability to overcome her disability and excel despite her body makes her a figure to be admired and arguably her greatest super-ability is her tenacity to be able to live with her disability. In a sense, taking the dead man defrosting troupe too far and creating a superpower through admiration of being able to live with a disability, turns a possible positive to a negative. Her extraordinary “super crip” status allows her to remain sexually accessible to readers because admiration for heroes and admiration for heroism because of disability can be a fine line. Irwin and Moeller suggest that “those characters with physical disabilities that possessed special abilities were portrayed in such a way as to explain how a person needed to be exceptional to overcome the perceived barriers of physical disability” (4).Exploring the tension which rests between seeing empowerment due to disability or empowerment despite disability is especially complicated by the Oracle character because her original purpose was never to inspire any kind of admiration but merely to act as a plot device. Furthermore, exploring how the return of Batgirl and Gordon’s ability to walk adds another layer of disability and sexuality.
Batgirl’s return in all of her able-bodied glory marked a dramatic twist for fans and comic-book characters alike as the presumed permanency of Gordon’s disability was erased and her former sexually immature self comes back into the foreground. Despite the large fandom that the Oracle character had gathered over the twenty years she was in action, DC Comics choose to erase Gordon’s disability and bring back the iconic Batgirl in 2011. They originally choose Gail Simone who noted the women in refrigerator trope to write the comic, later fired and then rehired her after fan outrage. This relaunch of the Batgirl character comes after the New 52′ initiative was started across the DC universe. A rather sudden, and slightly muddled turn of events saw Barbara Gordon “restored” to her former able-bodied self. While many fans were stunned by DC’s decision to “cure” Gordon’s disability according the multitude of blog posts and online forums, some were excited to see how the more mature and influential Oracle character would be channelled into the side-kick Batgirl. While opinions seem to be mixed according to my online research, it appears that Gordon lost her influence when giving up the wheelchair and donning the cape. The choice to change Gordon back into Batgirl and to remove some of her technological prowess is questionable at best. Arguably, becoming Batgirl is, in a sense, a way of “going back” to the “good old days” of able-bodiedness, a time machine if you will. As Gordon was shot at the age of eighteen, her sexual and personal maturity was greatly different then what fan have grown to love of Oracle. Essentially, the rebirth of Batgirl marks a negative turn back towards the medical model of disability where the focus is on curing and personal disability rather than societal based inaccessibility. While Oracle was arguably an empowered heroine, becoming Batgirl once again is perpetuating the idea that wanting to be “normal” and able-bodied is the ultimate goal. Yet, by going back to Batgirl, Gordon exhibits the kind of lack expected of those with a disability because she is no longer as influential nor can she erase the years living with her disability. While blogger fans have noted that Simone’s focus on Gordon’s PTSD and the repercussions of regaining her able-bodiedness is positive, the loss of Oracle as an active and powerful disabled heroine is mourned by many.
Barbara Gordon’s character transformation from Batgirl, to Oracle and to Batgirl again marks the tension which rests between many disability stereotypes and troupes, while also negotiating objectification and sexism within comic-book storylines. The story both on the pages and off of them of the development of Gordon’s character allowed for empowerment of a disabled superhero while arguably those wins where undermined by the women in refrigerator and the “super crip” troupes. While the scholarship on comic-books is dismal, the importance of analyzing today’s dominant perceptions of those most marginalized is extremely important and comic-books are the gateway to that kind of analysis. How the new change to Gordon’s character and the “miracle” of able-bodiness will effect the interaction between sexuality, gender and disability is yet to be fully realized.
Sarkeesian, Anita. #2 Women in Refrigerators (Tropes vs. Women). Video. Feminist Frequency. Uploaded Apr 6, 2011. https://www.youtube.com/watch?v=DInYaHVSLr8
Kim, Eunjung. “Asexuality in disability narratives” Sexualities 14(4), (2011) p. 479-493.
Kattari, Shanna. “Sexual Experiences of Adults with Physical Disabilities: Negotiating with Sexual Partners.” Sexuality and Disability 32.4 (2014): 499-513. Web. 12 Feb. 2015
Irwin, M., & Moeller, R. “Seeing different: Portrayals of disability in young adult graphic novels”. School Library Media Research Volume 13. Chicago: American Association of School Librarians (2010). Web. 8 Mar. 2015. Retrieved from:http://www.ala.org/aasl/sites/ala.org.aasl/files/content/aaslpubsandjournals/slr/vol13/SLR_SeeingDifferent.pdf.