Changing Bodies: Representations of Metamorphic Comic Characters Ross Murray Doctor of Philosophy, Creative Writing Volume 1: Thesis University of Western Sydney 2008 ii Acknowledgements I wish to thank my partner, Dr Marise Williams, and supervisors Dr Anna Gibbs and Dr Maria Angel, without whose valuable assistance, understanding, and patience this thesis would not have been completed. iii Statement of Authentication The work presented in this thesis is, to the best of my knowledge and belief, original except as acknowledged in the text. I hereby declare that I have not submitted this material, either in full or in part, for a degree at this or any other institution. …………………………………………………… 2008 iv Table of Contents List of Figures v Abstract vii Introduction A Brief History of Metamorphosis, A Brief History of Superhero Comics 1 1 The Genre of the Superhero Narrative: The Marvellous-Uncanny 26 2 Bodies in Motion: The Portrayal of Metamorphic Characters 45 3 The Feminine Mystique: Feminism, Sexuality, Motherhood 92 4 The Shape of Things to Come: Metamorphic Characters and Posthumanism 134 References 173 Bibliography 189 v List of Figures Chapter 1 1.1 Todorov’s Model of Genre 41 1.2 Brooke-Rose’s Model of Genre 41 1.3 Proposed New Model of Genre 43 Chapter 2 2.1 Mystique 47 2.2 Mystique transforms into a monster 48 2.3 Mystique with exoskeleton 48 2.4 Metamorpho 53 2.5 Two typical manifestations of Metamorpho’s ability 54 2.6 The real Metamorpho (right) confronts Shift 54 2.7 Evolved Metamorpho 54 2.8 Element Girl 54 2.9 Martian Manhunter 54 2.10 Martian Manhunter dead in process 58 2.11 The Hulk 59 2.12 Frank Miller’s sketch of Batman 61 2.13 Example of Mystique as midpoint and a being-without-thingness 67 2.14 Shift dissociates 67 2.15 Shift devolves into an elemental consommé 69 2.16 The Invisibles’ Red Robin as ‘time maggot’ 71 2.17 Martian Manhunter transforms without depiction of midpoint 76 2.18 Mystique’s shimmering transformation effect 76 2.19 Mystique’s phasing transformation effect 76 2.20 Mystique, pictured with her lover, Destiny, changes without mid-point 76 2.21 Another Mystique change without mid-point 78 vi 2.22 Martian Manhunter change without midpoint 78 2.23 Martian Manhunter outline depiction of metamorphosis 79 2.24 Mystique: Half and half portrayal 79 2.25 Metamorpho: Half and half portrayal 80 2.26 Combined outline and “off-screen” Hulk change 82 2.27 Hulk in five stage transformation with midpoint eliminated by the panel border 82 2.28 Mystique change with obscured mid-point 83 2.29 Painful Hulk transformation 83 2.30 Hulk seven stage change with pain 84 2.31 Ariel transforms into Fang, a demon from the Nightmare realm 85 2.32 Two-faced, four-armed Mystique 87 2.33 Mystique doing the ‘Mr Fantastic’ thing 87 2.34 Mystique trying to fight off infection 88 2.35 Example of Mystique’s metamorphic ability portrayed in film 90 2.36 Mystique’s visceral change 91 Chapter 3 3.1 Mystique as unthreatening phallic effigy 110 3.2 Example of Mystique’s leather clothes 111 3.3 Six-armed Mystique referencing Kali 133 3.4 Kali, Hindu Goddess 133 Chapter 4 4.1 Bionic Arm Prosthesis 144 4.2 Martian Manhunter, J’onn J’onzz, steps out as Joan J’onzz 154 4.3 The Engineer 160 vii Abstract Metamorphic characters, sometimes referred to as shape-shifters or shape-changers, are a staple, continual, and fascinating presence in mythic narratives, early literature, and present day popular culture. With labile, grotesque bodies, ambiguous natures, and the capacity to change at any moment, metamorphic characters remind the human subject of their inherent instability. The overwhelming portrayals of metamorphic processes gloss over the in-betweens, the stages of the process when the metamorphic subject is neither and both. Metamorphic comic characters are some of the most durable characters in the history of superheroes. The ongoing and diverse narratives of characters such as Mystique, Martian Manhunter, Metamorpho, Element Girl, Shift, and The Hulk provide representations and portrayals of instability, gender politics, and sexuality, which revolve around and centre upon the body. Investigating representations of metamorphic comic characters necessarily led to the investigation of the superhero narrative. Volume 1 of this thesis, Changing Bodies: Representations of Metamorphic Comic Characters, positions the superhero narrative as falling in the genre of the Marvellous-Uncanny which also provides space for Franz Kafka’s previously uncategorised short story, ‘Metamorphosis’. Changing Bodies shows that through the continual re-invention of the superhero narrative, superhero characters are necessarily re-inscribed as posthuman subjects. Metamorphic characters and posthumanism are linked through the figure of the cyborg which has come to viii dominate posthuman theory. In drawing upon both the cyborg man/machine and philosophical posthuman theory, Changing Bodies positions the cyborg shapeshifter, The Engineer, as an ideal posthuman subject. The posthuman metamorphic character is embedded in narratives, in mediums and genres, and thus in a world in which they can affect consciousness. When they affect our consciousness they therefore have “real world” effects. My research of the superhero narrative and metamorphic characters informed my writing of Volume Two of this thesis, Serpent Dawn. Like the superhero narrative, Serpent Dawn combines elements of science-fiction, fantasy, and myth. The relationship between Changing Bodies and Serpent Dawn is embodied in the main character, Acka – a metamorphic character in a hybrid narrative. Set in the year 2060 with South-Eastern Australia experiencing its eighteenth year of drought, Serpent Dawn is the story of Acka, a nineteen year-old girl living in the run-down Sydney suburb of Kings Hill. Acka has been experiencing some particularly vivid dreams of a snake eating the sun though thinks nothing of them. When her mother dies Acka steals some of her violent half-brother’s money and sets off on an Australian odyssey to meet up with her friend, Priscilla ‘Pussy’ Oakley, in the booming Western Australia town of Fitzroy Crossing. Travelling by train through the bleak tracts of Western New South Wales to Broken Hill, and then to Adelaide, Acka eventually finds herself virtually broke in the remote South Australian coastal town of Fowlers Bay which is populated by a strange group of Brothers. After slaughtering a beached whale, the Brothers, turn their attention to Acka, who is helped by a transgender woman, Andromeda. The two newly acquainted women barricade themselves in the Fowlers Bay church where Acka is presented with a conundrum which she must solve to be spared. She must ix interpret the Brothers’ collective dream, which unfortunately, they can’t remember. Acka does this, though she’s not sure how but suspects it is linked to her recent snake dreams, through a kind of lucid dreaming episode. Angered at Acka’s correct interpretation, the Brothers quickly change their mind to spare her. However Andromeda has snuck away and stolen the head Brother’s immaculate vintage XC Ford Falcon just in time to facilitate their escape. Acka and Andromeda drive to Perth where they meet Koko, an aboriginal woman who is able to sense people with Dreaming ability. Her senses go into overdrive when she meets Acka. Koko’s suspicions about Acka’s Dreaming ability are confirmed when Acka unknowingly heals a mutated crab. At Fitzroy Crossing, Acka finds Pussy is unable to follow through on her offer of a place to stay. Instead Acka accepts Koko’s invitation to go to her home town of Kokoberra in Arnhem Land and all three fly there in her Pussy’s Gyrodine. In Arnhem Land, Acka meets Koko’s father, Padaru, an aboriginal elder of high-degree, who straight-forwardly announces that Koko is correct – Acka definitely has Dreaming in her. Koko then explains she can ‘activate’ the Dreaming in Acka. Activation is dangerous though and only a few ‘activated’ people have survived. Acka decides that even if true, activation is too dangerous. Acka’s changes her mind when confronted with the spectacle of a swarm of flies that takes shape as a smiling replica of Acka’s own face. Koko then activates Acka but is unable to control the powerful forces involved. Over the next day and night, in a protracted and amazing transformation which threatens Acka’s life, she spectacularly changes into the Dreaming being, the Rainbow Serpent. After first taking respite in the Gulf of Carpentaria, the Serpent rampages through the drought-ridden land of Southern Queensland and Western New South x Wales followed by a huge storm front. The Serpent then splits into several other serpents which help reinvigorate the landscape by creating a new inland sea. Pussy and Koko follow the Serpents in the Gyrodine, but are brought down and stranded when debris thrown into the air damages the aircraft. The Serpents travel to Sydney, causing massive destruction, transforming the city and its surrounding precincts into a primordial swamp, while at the same time miraculously saving all the inhabitants. Koko and Pussy are rescued by Padaru and his friend Wulgaru, a dreamtime giant he has ‘sung up’ made of wood, stones, and wax. After they return to Kokoberra, Wulgaru sets off, returning later with an unconscious Acka. When she returns to consciousness, Acka has a heightened awareness of all objects and people around her. She relates that Dreaming beings are coming back to live in our time, to protect the land, and relieve its suffering. xi ‘Metamorphosis has always been for me one of the basic facts of life. Everything takes on a form, changes, falls apart and reforms in new organisations as part of an endless cycle.’ (James Gleeson in Free, 2004:52) 1 Introduction A Brief History of Metamorphosis, A Brief History of Superhero Comics ‘Metamorphosis can be lightning change or the slow gestational change of nature’ (Gleeson in Free, 2004:56).