Pop culture has led the “gay way” and is now pushing the transgendered. We get a daily dose of homosexual themes in films and television. Homosexual groups read scripts to insure that they portray homosexuals in a way that’s acceptable to the “gay community.” I call it “positive censorship.”
Even the portrayal of children as “gay” is not unusual. The Jack Black film School of Rock portrayed middle-school boy “Billy” (nicknamed Fancy Pants) as a costume designer who played a budding homosexual with stereotypical limp-wrist mannerisms.
“Billy tends to act quite effeminate and girlish, shown when he calls his outfits for the band ‘Glitter Rock, Glam and Fabulous.’”
The comic book industry has been on the front lines of normalizing homosexuality — from the Flash and Alpha Flight’s Northstar character to Rawhide and Batwoman. Now we’re learning that DC, the publisher of Batman and Superman, is adding a so-called transgendered character to its stable of characters:
“Once banned from the world of mainstream comic books by the infamous Comics Code Authority, LGBT characters now have a stronger presence in the world of superhero comics than ever before, with gay and lesbian heroes like Batwoman, Northstar and Green Lantern Alan Scott openly declaring who they are — and even getting married. Today, DC Comics told Wired that it will continue to expand the LGBT diversity of its superhero universe by introducing the first openly transgender character in a mainstream superhero comic.
“In Batgirl #19, on sale today in both print and digital formats, the character Alysia Yeoh will reveal that she is a transwoman in a conversation with her roommate, Barbara Gordon (aka Batgirl). Taking care to distinguish Yeoh’s sexual orientation from her gender identity, Batgirl writer Gail Simone noted that the character is also bisexual.”
Controversy over what children read is nothing new. In the late 1940s and early 1950s the content of comic books was brought to the attention of parents and government officials. Comic books were described by Psychiatrist and part-time comic book critic Frederic Wertham as “blueprints for delinquency.”
At the time, some comic books were gruesome, and crime comics seemed to extol criminal behavior and sexual exploitation.
Wertham believed that reading comics led to violent criminal behavior in young people. His book Seduction of the Innocent (1954) and his testimony before Congress nearly put an end to the comic book industry until the publishers took matters into their own hands and implemented the “Comics Code Authority.”
Marvel Comics, publishers of such popular titles as X-Men, Spiderman, The Fantastic Four, and The Incredible Hulk, officially dropped the code May 16, 2001. Independent publishers like Image and the now defunct Valiant never adopted the code. But even before the code’s recent official demise, some comic lines pushed the envelope of good taste and morality by becoming sex-obsessed, anti-Christian, blasphemous, and occultic, points made by John Fulce’s Seduction of the Innocent Revisited.
But even before the code’s end, Marvel and DC had consistency ignored it. Thor (#330) has the “God of Thunder” fighting the “Crusader,” a not-so-subtle slam at Christian conservatives in the early 1980s.
Marvel announced in December 2002 that it was reviving the 1950s character “The Rawhide Kid” as an openly homosexual character. Brokeback Mountain was a Johnny-come-lately homosexual cowboy story.
The stories in comic books were seen, like most fiction, as “morality tales.” People actually believed in “truth and justice” as if they were objective realities worth defending. We now live in a morally ambiguous universe. Truth and justice are slippery concepts in a post-modernist world.