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Reliance on rape as a device is one of comic cliches ?

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Location: Boston, MA

PostPosted: Sat Sep 22, 2012 2:04 am    Post subject: Reliance on rape as a device is one of comic cliches ? Reply with quote

Got this from a link on Allie's twitter.

My objection is not political correctness or even feminism; reliance on rape as a device is just lazy plotting

Apparently rape, and attempted rape is a huge cliche in recent 15 years of DC comics. I had no idea.

I don't want to post entire article here, because maybe you don't want to read about this. It was a revelation to me however that such an outlandish and eccentric genre as super-hero comic books overuses this particular plot as a device. It made me feel uneasy - especially taking into account too many 'questionable consent' plots in both BtVS and AtS.
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PostPosted: Fri Sep 28, 2012 2:14 pm    Post subject: Reply with quote

I think “invasion” of person is what really is supposed to be what is being talked about. I remember “The Puppet Master” or “Invasion of the Body Snatchers” with regard to being invaded and one’s identity “reformed” was the horror. Further, the reality of change for females “requires” the male to “release the real woman.”

This subject is strictly about “the weaker sex” being dominated and forced and with the male in the role of duty that she is indeed “made for it,” while her heroics to “being forced” ask her to take vengeance or “succomb” to the truth of her passions—“Gone with the Wind,” and every sexual fantasy of Buffy “giving up her power” with Spike, I am looking at you.

Further, the strong female nowadays “knows” she is missing something feeds back into that “penis envy,” which, for the girl is never a mystery that will turn out well. Afterall, it is her fault, from the Garden, that she suffers this invasion to a. be
changed from a girl into a woman by his conquest and conquering of all her secrets, marked by his bloody victory—you do note the taking of the “head,” of course—this means her sense of self/identity, as well, is now transformed and made “correct” b. she is but a hollow space to carry his gift, proof of his worthy gender, and his rightful power c. she is further punished in the pain of labor and then is required to “embrace” the entire process of invasion, identity formation to serve male desires, and accept the wisdom of God’s justice for her sin that she dared to advance what the male in the Garden respected in God’s command: his ignorance. She brought about the device of change and death that ruined God’s entire design, so she knows her place to accept nothing but those fruits of change and death in the agony of God’s love and loss, with mercy to be afforded her also by God and the male who forgives her, as she must now embrace such violation as her “just desserts,” and “(H)his gifts. For (H)he is the (C ) creator, he is the arbitrator of justice, the conqueror over death with his fertility, and the reformer with H(h) love, considering it is he who is awarded new life in “cutting it from her” and even eternal life in all the progeny from his source.

Girls, therefore, should never become women. They will be transformed in the “information” and “sin” of the transformation of knowing her actual place of design: loss of self. She will be invaded, the force of a weapon shall “plow” her; takes her ignorance and thus, sex itself is violence, violation and appalling. Heroines ever offer suc-cor in the double barreled balloon worlds of breasts (instead of balls) as the gifts, offered on plates of wires and binding, as promise to the ultimate mark upon her body, to all males rightfully made to conquer, but to know she should have “never changed,” walked with locked knees, backwards with bound feet that rival circus acts—the death defying heels her sturdy penii for males who wish “momma”could really touch them and make everything Eden/paradise, as God had designed her. After all, the virgin now “deserves what she gets” as she is actually the whore, for she had to be re-created from girl to woman, and she is to operate in Blame (Joss’s word is “whiny”) and Shame (Joss’s word is “weak”) for she is no longer just the ignorant, or the introvert, but the person who loses her voice, first in fear, then outrage and pure defiance, and then that words have no meaning, with only fear and rage in “the authority;” and the great desire to escape to this world she thinks everyone else actually enjoys from this (male) authority, that she is ever denied, called Eden/Paradise.

Yes, I am indeed suggesting that the entire story of season eight and Angel forming Giles, is actually a Freudian wet dream, and Angel “smacks” of that father figure that “all little girls offer submission,” but require some God given permission, in the virtue of her ignorance, and therefore his duty to take, (even if the most loving requires invasion and force) and that it’s “not all so bad” for “all girls want to marry Dad.”

There is a letter by Kafka to his father that I'll put on the A&F thread that is germaine, I think to my search to understand the differences between my understanding and accepting what the writers actually said and intend.

Yes, I am done with the comix. DOROTEA'S reply is spot on to "what went wrong" in making Buffy/Angel verse like every single other comic. I “smelled” the “hack,” as Joss already had shown his cards in who/what Angel always was “the hunger” and “wet dream” to Buffy, even as Joss’s suicide-relief/heroic of "will" to die as solution, is a real belief that humans/life isn't much in the grand picture (of indifference), but the "special few" who "wake up" and accept fate, is the process to gain "will" and are all we got in the flow going nowhere but to entropy.

No, enlightenment as "awakening" was only escape to wanting the world of Daddy, and all the magic of "me" as the center of everything. While Angel, faces the purity of naked power, that leaves him frozen in fear and rage, ever voiceless, ever seeking approval in worlds of no real rules, no escape, so imposed upon him, he imposes himself in the prison no one else occupies, for "they" get paradise, 'they' don't have to feel their “weakness,” and thus enjoy the sun and favor of "place."

The mix of heroics and death, good and evil, power and knowledge in the context of sex is strictly a Freudian representation that is juvenile and powered by dissolution of the personality in a Kafkaesque nightmare, in standing mute before the power (of father), the horror of becoming (what is "father") and succeeds in ultimate power of the nation. ( "fatherland.")

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