In lieu of the exciting news that DC Comics character Batwoman will be made into a TV series (starring Ruby Rose), I hearken back to a time when I studied Greg Rucka and J.H. Williams’ graphic novel, Batwoman: Elegy (2009-2010), in university. This Batwoman edition is part of the modernized Batwoman canon (starting in 2005), in which Kate Kane (formerly Kathy) is written as a Jewish lesbian woman. Now, this depiction is incredibly important because it takes major leaps for the LGBTQIA+ community, as queer main characters are not often found, particularly in the superhero genre. Archaic gendered notions of macho men and delicate damsels in distress are shattered in Elegy, where Kate Kane proudly and visibly demonstrates her queerness, physical strength, and gender fluidity. Today’s post is another academic essay from the past (2014), zeroing in on the way Kate/Batwoman confronts traditional gender roles, and how important this graphic novel is in the socio-political context of our era.
The dichotomy between male and female superheroes has always been noticeably divergent. The nature of the ideal superhero has typically been one that is correlated with self-confidence, toughness, and extraordinary physical stature, which was in turn associated with masculinity. Alternatively, when women are placed in the superhero role, such as the original Batwoman Kathy Kane, they are often secondary and regarded as weaker, less competent, and simple-minded, often having a subconscious priority of romantic pursuit. Thankfully, J.H. Williams and Greg Rucka’s Batwoman: Elegy challenges this dichotomy in several ways, namely by placing the heroine at the forefront of the novel, as well as challenging the binaries of gender roles and sexual orientation. Kate Kane demonstrates qualities that typically go hand-in-hand with masculinity, and yet she coexists with her persona of Batwoman, whose physical appearance is demonstrative of the more traditional female figure. The artwork in combination with Kate’s assertive personality confirms that she exists as both a sexually appealing and an extremely competent woman, without one diminishing the other. She breaks free from heteronormative gender stereotypes in multiple ways, demonstrating a fluid identity.
The original Batwoman, Silver Age heroine Kathy Kane, was introduced merely as a love interest for Batman, a character used to ward off speculation of Batman’s homosexuality. This is a prime example of how, despite being placed in the role of a superhero, the dichotomy between men and women in a position of power was still vastly unequal. While men proved their masculinity through physical strength and violence, women were often used as devices to further establish a man’s virility, especially when the character was threatened of being emasculated (god forbid, right?). Kate Kane of William’s and Rucka’s Batwoman: Elegy defies the meek feminine stereotype. Kate does not exist merely to emphasize an overshadowing male character, or any other character for that matter; she is wholly individual. This is exemplified in the way that Batman himself is depicted in the novel. Kate establishes Batman as her counterpart and equal, as opposed to being his prodigy or inferior. His presence in the novel is minimal, essentially only present to stand as the inspiration for Kate’s creation of Batwoman (6. 20. 3). When he condescendingly tells her to “do something about [her long] hair” (1. 8. 2.), Kate responds with a smirk and comments “I’ll take it under advisement” (1. 8. 3). A few panels later it becomes clear that she is well aware of the impracticality of long hair, as she reveals the hair is a wig. Therefore, Batman’s advisement is essentially an example of comedic irony, which further diminishes his role and places Kate in a more powerful position. Kate’s independence is further exemplified in the flashback where Batman first appears in her life (6. 18. 7): Kate is ready to fight her attacker fearlessly when the masked vigilante comes along, proving that Batman’s appearance was not necessary at all. When he does appear, Kate is at first taken aback, but then stares at him in wonder rather than the typical gushing of a ‘damsel in distress’. In fact, the impressive physical strength that Kate demonstrates is due to her army background, which proves her to be more realistically suited to the role of a superhero than a billionaire or product of scientific experimentation. Kate does not place romantic endeavours as her first priority, either, which immediately distinguishes her from her predecessor Kathy Kane. Within the first few pages, Kate is seen meeting her then-girlfriend Maggie Sawyer for breakfast, who then breaks up with her due to Kate’s secrecy, deeming her as not “serious” (1. 11. 5). Ultimately, although we see that Kate is unhappy about the breakup, it is made clear that Kate’s life as a vigilante takes priority over romantic relationships, an attribute that can be paralleled with that of Bruce Wayne himself.
The artwork in Batwoman: Elegy is a major contributor to the challenging of gender stereotypes. A few attributes of Kate’s atypical gender role lie in her modern appearance, her open homosexuality, extraordinary physical strength, and uncensored speech. Kate herself perpetuates the image of androgyny, which is emphasized by her short hair and neutral attire. She is seen lifting heavy weights, an activity that is often associated with males, and although one of the angles (1. 12. 5) can be viewed somewhat sexually (essentially just showing off her body while she lifts), she is noticeably sweating and does not look particularly “attractive” (ie. the way an actual person looks when they are working out). Batwoman, alternatively to Kate’s regular appearance, is quite feminine. The crimson lips, flowing fiery hair, tight leather outfit and accentuated breasts fall nothing short of seductive. However, there are elements of the outfit that defy Batwoman’s over-sexualized predecessors, and this can be noticed particularly in the black-and-white character sketches in the “Bonus Material” section of the novel. The illustrator has given notes to Kate Kane’s Batwoman outfit, revamped to have more “sensibility and functionality”. The bodysuit is equipped with armour, the boots are more “realistic” with their shorter heels, and her hair is a detachable wig. In terms of body image, she is not disproportionate; Batwoman’s figure is consistently shown to be strong and lean, though still maintaining the curves that are physiologically natural in a female. While the artwork does depict images of Batwoman and Kate Kane that has overtones of sexuality, it is important to note that this may be a strategy to empower her rather than demean her. Panels such as the double page spread (1. 20) look provocative but essentially show off Kate’s physical capabilities. As Batwoman, her facial expressions convey the same menacing intimidation as Batman does in his own mask, as well as being portrayed in dominating fighting poses (1. 4. 1). These factors demonstrate the conscious efforts of the author and illustrator to depict a more practical superhero, one whose purpose lies beyond fulfilling heteronormative sexual fantasies. Williams’ and Rucka’s Batwoman is therefore not the traditional feminine heroine, as Kate is not dependent on her appeal for her success. She has the physical and mental capabilities of an independent heroine as well as the expected tragic superhero origin story.
(1.20)
The question of Kate’s homosexuality being used as a mere device arises. Is it possible that, in making her a lesbian, she was enabled to be given more masculine attributes? If this claim is correct (spoiler: it’s not), then through stereotypically masculine features such as extraordinary physical strength, toughness, the use of violence and even sharing the same sexual preference as that of heterosexual males, she is given more credibility as an independent superhero. The portrayal of Kate as a sometimes more ‘butch’ lesbian factors into this claim. However, the physical leap between Kate’s daily appearance and Batwoman’s appearance disproves the argument that Kate’s homosexuality is merely a device. Her sexuality, in fact, is irrelevant when she is Batwoman, and the so-called “male attributes” of strength, violence and toughness that she utilized become un-gendered. As Kate, her queerness marks another realm of character modernity. Kate is fully independent as Batwoman as she is in her private life. She wears her sexuality proudly, one of them being when she steps into the fundraiser wearing a tuxedo, which is an outfit typically worn by men. Her step-mother reprimands her for not wearing something “appropriate” (3. 13. 4), and yet Kate does not seem to care. She actually embraces the fact that she is making a statement and drawing “attention to herself” (3. 14. 2), because Kate then remarks that she’s “just making sure she doesn’t stay hidden” (3. 14. 2). This directly indicates that she comfortably embraces her sexuality and fluidity, and believes that it should not stay hushed or hidden but rather openly received and accepted, despite any controversy that follows it, including having to leave the army by revealing her sexuality (6. 7. 6). She is breaking free of gender and sexual binaries by proving that she is much more complex than just falling under the label of ‘gay’. Her queerness is simply another part of her, just as her army background is a part of her and the drive to fight crime is a part of her. She is not confined to the stereotypical image of a ‘butch’ lesbian woman because there is a constant transition between Kate and the more ‘feminine’ Batwoman. As well, Kate’s daily appearance in flashbacks constantly changes. This individuality and ability to transition effortlessly into Batwoman empowers her, and enables her to break away from stereotypical gender norms. Batwoman exists on her own power and not as a device to complement any other character. She performs and represents a person with a fluid identity, reflective of contemporary society. Kate is perfectly capable as a superhero to fight injustice, and so sheer crime-fighting becomes focused into a much deeper origin story, which gives her the profound foundation that most male superheroes are given.
The fluidity of Kate’s character and appearance is a demonstration of how women can be equally as capable, complex, powerful and compelling as male characters. More importantly, that no matter the gender or sexual orientation, a character can always break free from the stereotypical binaries that have previously been placed. Kate is not only Batwoman, but she is also gay, also Jewish, she is also of a military background, she also has a traumatic past. Rucka and Williams’ Batwoman demonstrates a very real character who proves that a character does not have to be constrained by margins and labels. Stereotypes are explored and tested in Batwoman: Elegy, where Kate proves that it is not paradoxical to exist as a resilient, competent and independent woman while still maintaining more traditional elements of a heroine. Kate is not defined by limiting labels, but is rather breaking away and actively being reflective of modern day society.
Works Cited: Rucka, Greg, et al. Batwoman: Elegy. Deluxe ed. New York: DC Comics, 2010. Print.
~ Z ~
Photos from Batwoman: Elegy (2010) by Greg Ruck and J.H. Williams
