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I’m No Princess

Super Hero Girls Together

Lucy I. Baker

DC Super Hero Girls (DCSHG) is a trans-media franchise that includes not just screen media texts but a wide array of themed merchandise aimed at a multi-generational market. I argue here that key components of the franchise present a queered version of girlhood that critiques femininity as a gender role while presenting femaleness as encompassing a variety of signifiers, acts, and presentations that can be read as queer (particularly by the so-called big girls in the audience). This is evident in the representation of queer relationships that exist in the sexualized zone of the canonical material, allowing the DCSHG characters to inhabit a liminal proto-queer space between homosocial/gender non-conforming and lesbian that is considered more appropriate for young girls. I examine the way in which the DC Super Hero Girls franchise rejects and reforms familiar elements of comics, super heroism, and princess culture to create that space for girls.

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Raphaël Baroni

and Dave Gibbons, Watchmen (1986), Chapter 4, page 1. © DC Comics, courtesy of DC Comics. exact same image is already lying ahead, in the last panel of the page, seven panels into the future . These two panels are also a reiteration of the cover of

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Alex Link

brilliant colours lying in wait; a blank page, paper, a picture of blankness, an absolute transparency, an oddly specific property of DC Comics demarcated by a frame, and a flash of light, which Dr Manhattan reminds us is time made into space. The black

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Hugo Frey and Laurike in ‘t Veld

superhero strips (and all the other references too), gives back to DC Comics a perfect new remix, Watchmen . Link’s interpretation of that work suggests it to be a blurring of fanboy knowledge and ideas of the city found in Situationist theory. It is also

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A Literacy Landscape Unresolved

Beyond the Boy Crisis and into Superhero Fiction

Michael Kehler and Jacob Cassidy

.” Journal of Adolescent & Adult Literacy 54 ( 7 ): 476 – 484 . 10.1598/JAAL.54.7.1 Moore , Alan . 2008 . Batman: The Killing Joke . New York : DC Comics . Morrison , Grant . 2001 . New X-Men Vol. 1 . New York : Marvel . Morrison , Grant

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Queer Girlhoods in Contemporary Comics

Disrupting Normative Notions

Mel Gibson

, although an imprint of DC comics, was both founded by a woman, Karen Berger, and published works dealing with a number of genres, often incorporating a thread of social commentary and mature content. In effect, this imprint offered a diverse set of texts

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Lise Tannahill, Eliza Bourque Dandridge, and Rachel Mizsei Ward

deep read of the art and juxtapositions in DC Comics’ Unknown Soldier reboot by Joshua Dysart (2008) about war in contemporary Uganda. The second section covers two figures in the Black comics canon. Nancy Goldstein profiles the groundbreaking African

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Guillaume Lecomte

popular examples like the small-screen iterations of Marvel and DC comics, or The Walking Dead (2010) and Preacher (2016), to name but a few. Despite the visibility of this kind of adaptation, it has received relatively little critical attention until

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Tehmina Pirzada

restricted to the United States, nor is it the sole creation of Marvel and DC comics. Graphic narratives like Gogi (1970–present) by Nigar Nazar and Burka Avenger (2013–present) by Haroon Rashid serve as an interesting counterpoint to the Western big