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Girls With Slingshots: A Character Analysis

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Female characters propagate sex-positivity through their sexualization, and utilize it as a tool of shaping solidarity by eradicating the double standard concerned with male and female bodies (Pratl, 2009). Axel Alonso’s (2014) previous comments on the impossibility of “not sexualizing comic characters” are affirmed, as he mentions that not only physical ability and appearance take part in defining a character, but sex appeal as well. The argument that sexualizing female comic characters only leads to sexual objectification can only be countered by the cast of dynamic female characters the world of comics has to offer. Catwoman is an astute example of a multifaceted, well-rounded character that utilizes her sexuality to empower her and overthrow …show more content…

In light of the use of the sequential medium, artists Erika Moen and Matt Nolan have created “Oh Joy Sex Toy” a web-comic formatted to discuss sex education and sex-positive topics (Zalokar, 2014). With a similar yet individual tone, “Girls With Slingshots” is a slice-of-life daily comic strip revolving around a group of friends, their differing sexual orientations and preferences, as well as their interpersonal relationships are explored. A variety of characters compose Girls With Slingshots; Erin, for example, is an asexual female in a romantic monogamous relationship with another character, Jamie. This type of diversity will benefit sexual minorities, in terms of representation and portrayal. To Danielle Corsetto, the author, Girls With Slingshots is her way of “talking about things [we’re] not supposed to talk about”. To her, it is untapped content she is responsible of humorously scrutinizing. In an interview with Corsetto, she explains her view on communicating about sex. She expounds on the relationship of the words “adult” and “sex,” and how even as woman, she feels discouraged from openly conferring about it (Registre,

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For every positive female role model, two negative ones can be found” (Lavin 97). Women in comics portray a sexualized representation of the female body, with a strong focus on women as sexual objects rather than women. The trend of objecticifty women in comics has continued since the first superheroine Wonder Woman was first introduced in comics because it is profitable and it is

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She calls her daughter a “slut” and wants her to see she is not a boy. She tells her, “on Sundays try to walk like a lady and not like the slut you are so bent on becoming; don’t sing benna in Sunday school; you mustn’t speak to wharf-rat boys...” (180). She must keep her reputation up. She thinks her daughter already knows too much about sexuality and that she is being disobedient by singing the benna in Sunday school.

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As well as feeding off of the sources and material presented earlier in this paper, the analysis to come will also use Erving Goffman 's categorisation of gender to analyse how the women (and some men) are depicted on the front covers of Playboy and Good Housekeeping within said timeframe. In his study Gender Advertisements (Goffman, 1985), Goffman gathered hundreds of advertisements from magazines in various positions and poses and analysed poses and how they portrayed masculinity versus femininity. His way of analysing advertisement differentiates itself and makes a broader distinction of what is considered sexist or not, by showing much like the Heterosexual Script earlier on in the paper, what was considered appropriate roles for men and women. In Goffman 's ' analysis of advertisements, he suggests several variables used when analysing a depiction of both men and women.

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The female characters in films ‘reflect and perpetuate the status and options of women in today 's society ' and play an active part in creating female role models (Kord,

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