While each of the characters studied displays a unique vision of masculinity, none
feels completely discrete from the bounds and pressures of hegemonic masculinity. And
in a way, this is to be expected. It would not be hegemonic masculinity if it were not a
dominant construct, and the power dynamics at play mean that these ideas exert influence
on a collective culture. However, just because the influence of hegemony is felt in most
places, it is not a replacement for other, more culturally accurate representations of
masculinity. Scripting hegemonic masculinity onto the bodies of men who are not part of
the dominant culture necessitates the erasure of whatever unique and culturally specific
masculinity was there previously.
One interesting feature of all of these stories is that none was written by a person
of color. Returning to Ronald Jackson’s ideas about scripting, this means that the world
view, ascriptions, and sense of self of the writer are incapable of being the same as those
of the character they are scripting. The utilization of these perspectives to create the
character, then, “often requires…redefining the newly affected…text as the counter- positional or oppositional Other” (2006, p. 53). As Jackson continues, he mentions that
the power dynamics of doing this with Black bodies (and, I would extend, many other
marginalized bodies of people of color) often entails repositioning the “Othered” body
onto the periphery of the narrative and giving central credibility and power to the
The findings of this study seem to corroborate Marjorie Liu’s criticism that any
increase in diversity in comics is currently just at the level of an optics change. While the
characters of these comics do take center stage and drive their narratives, the ways in
which they are and are not allowed to perform masculinity and resolve their conflicts are
most often limited to traditional, hegemonic models – dominating their opponents,
employing violence to solve problems, and maintaining a sense of emotional control,
detachment, and power. Even when the characters step outside this motif to foray into
more progressive or culturally accurate performances of masculinity, it is either a brief
interlude or a limited exploration – a “secondary” masculinity of sorts.
Arguments like Liu’s seem to point towards the need for more diverse writer’s
having their work promoted. If a writer of color were to script a character of his or her
own culture, then it might ameliorate at least part of the challenge of scripting as defined
by Jackson’s scripting paradigm. When the scripting of characters of color is done by
members of another cultural group, they are not only forced to displace the identity of the “individualized body” of the character, but also the “composite body” of the character’s
culture and race. A writer who is of the same culture and/or race as the character they write may not be able to capture the truth of all members of the “composite body” their
character is a part of, but they will surely have a more intimate understanding of that “composite body,” because they are a component of it as well.
When these characters are written, there is space for their performance of
masculinity to be a counter-story – to present a unique mode of masculinity, an
alternative mode of masculinity, a culturally accurate mode of masculinity. More
elsewhere in media. As we identify, discuss, and deconstruct the representations of
masculinity in media, we can hope to create a dialogue wherein there is not a single,
hegemonic masculinity that remains attainable only for some. As Jackson concludes in
the epilogue to Scripting the Black Masculine Body, “there needs to be a clear admission
and embrace of multiple Black masculinities, rather than an essentialist, unifocal Black masculinity” (2006, p. 151). This is true of all masculinities. In the small sample of
comics studied herein, Hawkeye is the character most afforded this flexibility to embody
various and nuanced masculinities. This kind of flexibility should be afforded to all folks
who identify as masculine, not just those in the dominant cultural group. And what better
place to begin sharing these narratives than the comics, where men can fly, or use magic,
or climb sheer walls with their bare hands? If a man can be a spider in comics, then a man
Appendices
Appendix A: Definitions of Tags
Tag Definition
Winning Performances that engage in a competition of any sort, and result in a clear delineation of victor and loser
Emotional Control The suppression or modulation of emotion to display a front contrary to expected or actual feeling
Self-Reliance Unwillingness to accept, or outright rejection of, support from others Dominance Positioning of oneself as superior to another, especially through
physicality and with connotations of control over that person/thing Risk Taking Endangering oneself, both physically and emotionally
Violence Intentionally harming another person
Playboy Demonstrating a sexual interest in women, especially through objectification and the pursuit of multiple and/or capsular partners Work Dedicating time and energy to traditional, money-making pursuits Power Over Women Placing oneself as superior to women, both in the case of an individual
woman or in relation to the idea of “women” as a group. Can manifest through physical exertions, emotional manipulations, or statements of belief.
Homophobia Any action that demonstrates a fear of being categorized as homosexual, or a disrespect for homosexuality as a legitimate identity, such as through the use of slurs or blue humor.
Status Prioritization of achieving a higher position on a hierarchal ladder, real or perceived
Stoicism Maintenance of a cold, emotionless facade
Authoritarianism Exerting command, and performing a sense of control and knowledge of a situation in a way that makes positions oneself as a leader/figure in command
Muscularity Display of the male body that prioritizes bare skin, hard muscles, and extraordinary physical strength
Protection of Family Actions that serve to protect the safety and well-being of a blood family unit
Protection of Community Actions that serve to protect the safety and well-being of a community, both in terms of geographic proximity and intimacy
Collectivism Actions that indicate a preference towards an ideology focused on the interconnectedness of things and individuals, prioritizing group needs over individual needs both with respect to oneself and to others Filial Loyalty Obedience to and respect for one’s elders in a family unit Humility Diminishing one’s own power or importance
Subscription to Hierarchy Actions that allow a structure of power and status to guide one’s decisions
Wit Comedy, especially of a self-deprecating, punny, or quick nature. Awkwardness Actions that cause inconvenience to others/oneself, or embarrassment Pacifism Avoidance of violence and physical altercations, pursuit of peace
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