a IADE, Universidade Europeia, Av. D. Carlos I, 4, 1200-649 Lisbon, Portugal b UNIDCOM/IADE – Unidade de Investigação em Design e Comunicação, Lisbon, Portugal olga.olillia@gmail.com; flavio.almeida@universidadeeuropeia.pt; c FBAUL/ Universidade Nova de Lisboa, Lisbon, Portugal teresa.lousa@gmail.com
Doctoral Design Conference’19: TRANSformation
UNIDCOM/IADE, Lisbon, Portugal, 22-24 May 2019
ABSTRACT
The paper will focus on the analysis of female characters in the art of famous Italian duo of artists Magnus & Bunker that reflected the cultural freedom and loosening of moral grip of the Catholic Church. The aim is to study the concept of women representation in Italian adult comic books of the era with attention to different aspects of their visual and narrative presence and with the support of feminist and psychoanalytic issues to offer a new insight into the portrayal of women. As the object of study, will be used female antihero Satanik, a character created by Magnus & Bunker in 1964. Satanik is distinguished from the others of the genre by the massive presence of horror and erotic tones. Running for 10 years it ended in 1974 with 231 issue. The study will include the following selection of books from the series: N1 “La legge del Male” (literally The law of harm), N185 “Le Origini di Satanik” (The origins of Satanik), N47 “Il Faro del Golfo Nero” (The Farol of Black Gulf) and N62 “La vita sbagliata di Mae Wildt” (Wrong life of Mae Wildt). These books are not randomly selected but there ́s a connection between them in terms of narrative. The character of Satanik will be analysed in terms of her role as a mirror of society and judged in sexual and non-sexual context. The analysis will be narrowed to the artist ́s narrative and graphic approach to women representation and explore whether Satanik represents a reflection of her author ́s fantasies, created for pleasure of male audience, or she can be seen as liberated empowered figure, a Beautiful lady without mercy”16 and a nemesis against men and society. Furthermore, it is argued that this power was transmitted to actual women readers and their empowerment have influence on today’s visual communication.
Keywords: Magnus & Bunker, fumetti neri, women representation, feminism, comic books
16 Belle Dame Sans Mercy – is a ballad produced by the English poet John Keats in 1819. he poem is about a fairy who con- demns a knight to an unpleasant fate after she seduces him with her eyes and singing. The poem continues to be referenced in many works of literature, music, art, and film.
INTRODUCTION
Roberto Raviola (also known under the pseudonym Magnus)17 and Max Bunker (known under pen-name of Luciano Secchi)18 are two of the most famous and influential figures of the Italian comic-book genre, that emerged in the mid-sixties and became known as the fumetti neri (the black comics). Young and adventurous, they took inspiration from classic literature, mixing Robert Louis Stevenson with Oscar Wilde, Howard Phillips Lovecraft and Edgar Allan Poe. As comics historian Castaldi says, their works were “the most important link between the comics of the ’60s and those of the post-’77 era” (2009, p. 36). The creative duo simply known as Magnus & Bunker is considered one of the most controversial of the decade of fumetti neri. The artists realised the potentials behind Diabolik and what they could add to it, so they added more grotesque, horror, eroticism, sex and violence. Bunker, the writer, came up with great creative ideas which Magnus, an original, innovative artist with a peculiar, sharp style, managed to expand and visualize. Anthony Logan/ Kriminal and Marny Bannister/ Satanik were often censored because of the violence and sex scenes they featured. Ruthless, cold-blooded antiheroes, that kill and seduce, as if it was the most natural thing in the world, they became a symbol of dissolution of traditional values, sending a moralistic and prudish Italian society into a kind of nervous agitation.
Released in 1964 “Satanik” was a second creation of the duo and is considered even more significant for the history of Italian comics than her twin-brother “Kriminal”, because the main character of the story is an evil woman antihero. A stunning heartless killer Satanik is according to Roberto Curti (2015, p. 6) an evolution of the Beautiful lady without mercy of literature and opera. Satanik can be distinguished from others of its kind by the massive presence of supernatural and horror elements. The comic book, in black and white small pocket size format, was published for ten years, surrounded by many controversies, and ended in 1974. It had several problems with censorship, was reprinted various times, and is still considered a classic. Satanik was named Demoniak in France, in order to avoid confusion with Killing, which had been translated in French as Satanik.
I. A GREAT PAINTER DID IT
Roberto Raviola, better known as Magnus, was born in Bologna, Italy, on May 31st, 1939. The pseudonym was ironically derived from the Latin expression “Magnus Pictor Fecit” (“A Great Painter Did It”). After graduating from high school he then enrolled in a scenography course at the Academy of Fine Arts of Bologna in 1961. He started out as an illustrator before switching to comics in 1964 when he was invited to start working with Milanese writer Luciano Secchi a.k.a. Max Bunker. Together they produced very successful series “Kriminal” and “Satanik” in 1964, Dennis Cobb in 1966, inspired by Ian Fleming’s 007 and in 1966 Gesebel, inspired by Barbarella of Jean Claude Forest, and “Alan Ford” in 1969. As a result, the duo became a mainstay of Italian comics throughout the ’60s.
Magnus revolutionized his stories on a visual level, by using an innovative approach: a beautifully rendered black and white comic strip to recreate different atmospheres.
17 Max Bunker, aka Luciano Secchi (born August 24, 1939)
18 Roberto Raviola aka Magnus (1939-1996)
Master in his craft, an inspiring and imaginative character-creator and world-builder, he also had a very distinctive style of inking. As Pietro Favari (1996, p. 107) says, his drawing technique takes his negative heroes to a higher level of stylistic quality quite unusual for the time. The striking contrast between black and white and ability of employing screen printing and crosshatching make him a real master of the fumetto art. The author goes beyond stereotypical erotic representations. Magnus pays attention to details and particulars, gives rhythm to the story, increasing its expressive strength with brilliant use of blacks and silhouettes. The rigid 2-panel-per-page format (printed as small, pocket-size paperbacks) had the effect of a productive creative restraint on their composition and story-telling. He creates some interesting layouts, with the use of negative space and feathered inking, that, further inspired Charles Burnes19 (Fig.1). Moreover, Roy Lichtenstein20, who ́s paintings are considered iconic examples of the Pop-art movement of the 20th century appropriated the techniques and styles of fumetti neri using them in his captivating compositions. The artistic quality of Magnus ́s graphic stories are quickly recognizable. Magnus designed only the black silhouette for the main character and introduced film-shot-like vignettes, which gave life to a new way of designing comics.
Figure 1
A collage made by me: on the left a page from “Satanik” by Magnus, on the right a page from “dark Hole” by Charles Burnes.
Magnus ́s beautiful creation Satanik, that took advantage of her sex appeal to conduct her crimes was quite innovative for her times and is still a symbol of women’s sexual power and provides inspirations for fashion designers (Fig.2). Canadian designer Kat Marks, whose collections quite often revolve around the theme of empowerment, with exaggerated shapes and hint fashion and sexuality, created some pieces that evoke in their colours, shapes and materials Satanik’s costume. Tomas Maier’s at “Bottega Veneta” reinterpreted the themes of empowerment in his own original way in the Fall/Winter 2010 collection.
19 Charles Burns (born September 27, 1955) is an American cartoonist and illustrator and one of the most notori- ous authors of horror comics. 20 Roy Lichtenstein – (October 27, 1923 – September 29, 1997) was an American pop artist. During the 1960s, he became a leading figure in the new art movement. His work defined the premise of pop art through parody.[2] Inspired by the comic strip.
Figure 2 On the left: a dress by Tomas Maer, On the right: Kat Marks design pieces.
During his lifetime, artist ́s work was published in the most respected, cutting-edge, adult-oriented comics magazines of the day, including Heavy Metal, Totem, and Frigidaire. He gave himself freedom to experiment different genres from noir to comic and from eroticism to sci-fi and western. His effortless use of clear line, blend of eroticism and attention to details, long-legged stunning women in suspenders and lingerie caused a lot of problems to the medium of fumetto, but, nevertheless, regarded as an essential milestone in the context of adult comics in Italy. In 2015, a prestigious literary publisher “Mondadori comics” reprinted the complete series designed by duo Magnus& Bunker and then Romanini21 and Peruccia, after the duo left their work on the strip. The reprint edition includes 14 issues in chronological order.
II. FUMETTI NERI
Fumetti, officially appeared in Italy in 1908, with a creation of Corriere dei Piccoli (Children ́s Newspaper) and were exclusively seen as a pedagogical tool and were very much censored. Corriere dei Piccoli shortly named “Corrierino” introduced American comics to an Italian audience. With a great impact of American culture on Italian comics creators, the first modern female character, a Tarzan-like Pantera Bionda (The Blond Panther) was introduced to Italian audience. Created by Gian Giacomo Dalmassio and Enzo Magni (under pen name Ingam) in 1948, she was inspired by American jungle queen Sheena22. The comic book immediately gained huge success and according to Laterza and Vinella (1980, p. 135) was the first female character in Italy that made her way through self-affirmative sexuality. A major reason of the great success was her costume – a leopard skin-top and a tiny bikini. The Blond Panther was a sort of jungle pin-up with gorgeous body, trained to perfection – aggressive and absolutely independent. She swang through the jungle, with the agility of Tarzan and was also a highly skilled horse rider and an archer viciously confronting tropical dangers.
21 Giovanni Romanini (1945, Bologna) Italian illustrator famous for his collaborations with artists like Magnus& BUnker
22 Sheena, created by Will Eisner, was the first female comic book character to have her own series which debuted in spring 1942, preceding Wonder Woman which came out in summer the same year.
According to Franco Fossati, cited by Guzzetta and Zaghini (2009, p. 60), despite the presence of her partner, a handsome American explorer Ted (or Fred in some versions) she didn ́t need any protection from men but found it useful to have a lover and admirer. Together they had numerous adventures full of action and violence and fought against Japaneese troops and other different sorts of criminals. Her extremely brief costumes and self-affirmative use of sexuality caused increasing pressure from the conservative Italian establishment and Catholic Church. The publishers of the Blond Panther were subsequently dragged into court and forced to suspend publications. After eight month of life the heroine was legally required to wear more clothing. Her little skirt was eventually stretched to cover her below the knees, and her bra expanded to conceal her shoulders and torso. The Blond Panther can be considered not only the first real heroine of Italian comics but a pioneer of the genre that will explode in the 1960s and also a proto-feminist whose sexuality was a positive source of empowerment. The Blond Panther was too emancipated for the moralistic and prudish Italian society. She didn ́t frighten the authorities with her nudity but with her total liberation and inability to accept a subordinate role in a male world. The idea that women might be strong fearless fighters who were not submissive to men, but equal, was a disturbing thought for the traditional male-dominated society, and this attitude was not limited to Italy. Sheena, her predecessor in America, was also accused of fostering sexism, violence and providing young readers with over-sexualized role models. The Blond Panther gave only the start of new era when men and women began to examine their roles and to question whether they might need to make a few adjustments in their thinking. In this regard, Carla Lonzi (1974, p. 3) points out, “What is meant by woman’s equality is usually her right to share in the exercise of power within society, once it is accepted that she is possessed of the same abilities as man.[…] Existing as a woman does not imply participation in male power, but calls into question the very concept of power.”
Emerged as a reaction to the economic boom and focused exclusively on male protagonists, “sexy violent antiheroes”, adult comics, better known as fumetti neri (the black comics) became all the rage in Italy of the 1960s. According to Encyclopedia of Contemporary Italian culture, the phenomenon of fumetti neri, was spontaneous and responded to the public’s expectations and changes in taste (Moliterno, 2003, p. 178). The first comic book “Diabolik”, labelled “for adults only”, created by sisters Angela and Luciana Guissani came out in 1962, introducing a new genre and a new format (128 pocket-sized pages, two panels per page, with a complete story) and giving birth to the fumetti neri phenomenon. The comic strip rapidly became a hit because it suited the mood of the times and tapped into many people’s deepest, most selfish fantasies. In Italy, where sexual matters were considered taboo, morals were changing and censorship loosening, hence, this was a perfect moment for a new trend.
Diabolik was a super-criminal in many ways opposite to an American superhero, with trendy evocative outfits and gadgets, gorgeous partner and insatiable desire for money and sex. His partner in love and crime, Eva Kant, first appeared in the shadow of “King of Crime”, but with time evolved into one of the most famous female comics characters in Italy and a symbol of the emancipated woman in Italy. The pioneering example of Diabolik still retains a large popularity and continues to be published even today. Diabolik became an irresistible temptation for Italian readers, battling against censorship and moralistic repression and made possible everything that was forbidden in comics: from explicit violence, to radical political ideas. Roberto Curti (2016, p. 16) calls fumetti neri a “key moment” in the evolution of sexual matters and points out, that “comics existed in a universe totally of their own, where anything could happen, and readers could project all kinds of fantasies, with even ampler freedom than films would allow.”
Inspired by Diabolik, the industry of the medium produced an endless series of it’s imitations. Cheaply printed and barely edited, they flooded the market, copying the format and featuring masked anti-heroes as main characters. The stories mostly involved murders, robbery, sex, horror and other hinted forbidden content. Many of them had quite bizarre names like Fantax, Demoniak, Sadik, to mention just a few with the inevitable “K” in the names as an instant reference with the genre. Other successful fumetti neri and the most significant ones among many Diabolik follow-ups, were skeleton-masked “Kriminal” and the sexy evil “Satanik”, both created in 1964 by Magnus & Bunker for Milan publisher Andrea Corno.
Their stories were innovative and far more violent and sexually explicit than those of their predecessor and broke the boundaries that Diabolik did not dare. Issued in small pocket-size and a two-panel page grid they were dominated by robbery, corruption, murder and sex, along with Magnus ́s expressive style and characteristic heavy blacks and thick lines. They employed more elaborate graphic style and introduced many innovations in the Italian comics landscape and, according to Castaldi (2009, p. 36), were “the most important link between the comics of the ’60s and those of the post-’77 era”. The duo destroyed traditional values adding to their story grotesque and black humour and exploring the boundaries between horror and satire. Curti (2016, p. 49) says, that they displayed a cynical attitude that concealed a social commentary on an increasingly hollow and empty society founded on greed and moneymaking – where there were no moral values to be found. “Kriminal” and “Satanik” come out as an interesting contrast to “Diabolik” that took the use of sex and violence to an entirely different level. Both “Kriminal” and “Satanik” featured violence, crime and sex, but Satanik was considered as more dangerous representing everything that society wanted to repress, especially women’s sexual power.
The year 1965 marked the beginning of a violent campaign against adult comics. Fumetti were accused of corrupting the youth and blamed of negative morals they heralded not to mention daring erotic content. Due to the violence and the explicit erotic scenes in the comic books, Bunker and Raviola had problems with Italian censorship. Bunker was prosecuted several times, but never condemned. The panels depicting semi-nude women were often censored even by the publisher. At the same time, according to Encyclopaedia of Italian Literary Studies (Marrone & Puppa, 2006, p. 789) the medium was recognised as a mainstream cultural expression.
III. SATANIK –WOMAN ANTIHERO
Debuted in December 1964, following the success of “Diabolik”, “Satanik” was a second fumetto nero character, created by Magnus and Bunker. Marnie / Satanik took her name from the heroine of the psychological thriller film by the same name, directed by Alfred Hitchcock and released the same year. Satanik caused a big fuss when it came out and, somehow it is more important for the history of Italian comics than the “Kriminal” because it features an evil woman antihero breaking a gender boundary in the male dominated comics industry. The story can be distinguished from others of its kind by the massive presence of supernatural and horror elements. The protagonist of Satanik was Marnie Bannister, a middle aged scientist, whose face is marked by an unpleasant angioma. The third daughter of an alcoholic and a narrow-minded housewife, she lives with her parents and two beautiful sisters Dolly and Lydia, who continuously humiliate her because of her unpleasant appearance. One day, sick of the abuse and filled with rage against the world, Marnie invents a serum following a theory of a mad alchemist Masopust for whom she works as an assistant. After drinking the serum and going through a painful transformation, Marnie is turned into a cruel, sensual seductress Satanik with neither morals nor sexual inhibitions. Naturally, her repressed anger transforms into an open revenge turns into a criminally insane woman and an unstoppable symbol of women’s sexual power and might even seem a radical feminist. Here, it is important to examine the role of women in Italian culture of the era from a feminist perspective.
In Italy, as patriarchal country dominated by moralistic values of Catholic Church women were seen as inferior to men and a female body was seen as the object of the male gaze. The 1960s were years of profound change, social and Cultural Revolution, that has had an indelible effect on the art in general and comics industry in particular. If before the 1960s female figures in comics were quite scarce now they started becoming more prominent in this male dominated field. In fact, the world of comics has been often accused of sexism. Fumetti with a centralized figure of a woman came up as a reflection of culture and a reaction to radical changes the country was experiencing. As Natasha Walter (2011, p. 5), a British feminist writer, posits, this highly sexualized culture is often positively celebrated as a sign of women’s liberation and empowerment. Depicted in her contextual and visual extreme Satanik had her own reasons for existing, beyond simply providing another sexy character for the pleasure of male viewer. As French philosopher and existentialist Simone de Beauvoir in “Second Sex” explains, that woman is always the “other” because the male is the “seer”: he is the subject and she the object – the meaning of what it is to be a woman is given by men. De Beauvoir claims, that “for the woman there is, from the start, a conflict between her autonomous existence and her “beingother”; she is taught that to please, must make herself object; she must therefore renounce her autonomy. She is treated like a living doll, and freedom is denied her; thus a vicious circle is closed; for the less she exercises her freedom to understand, grasp, and discover the world around her, the less she will find its resources, and the less she will dare to affirm herself as subject (2011, p. 342).”
Andi Zeisler in her book “Feminism and Pop-culture” focuses on women and explains how the pop culture effects the way women see themselves and engage with visual media. She explains the often-cited feminist term “the male gaze”, by citing Berger’s “Ways of Seeing”: “Men act and women appear. Men look at women. Women watch themselves being looked at. This determines not only most relations between men and women but also the relation of women to themselves. The surveyor of women in herself is male: the surveyed female. Thus she turns herself into an object—and most particularly an object of vision: a sight” (1972, p. 47). Further, she outlines Laura Mulvey’s (1975, p. 835) “Visual Pleasure and Narrative Cinema” idea of female “to-be- looked-at-ness”. Woman is “spectacle”, and man is “the bearer of the look”. According to Zeisler the male gaze is the idea that when we look at images onscreen, we’re seeing them the way men do – even if we are women (this is what Mulvey didn ́t suggest – because those images are constructed to be seen by men. “Without pop culture’s limited images of women, many actual women in the real world might not have been inspired to fight for more and better representations of themselves (2008, p. 8).
Roberto Curti (2016, p. 119) compares Satanik, despised by her mother and two older sisters, to Cinderella, a beauty ideal that is shown to young girls. Cinderella is submissive and quiet and her external beauty is synonymous with her moral purity. On the contrary to Cinderella Marny/Satanik is not a beauty myth23. She is not supported by society but rejected by the whole world, including her entire family. Her heart is not filled with love and purity but with anger and revenge. Though, the beauty serum is an update of the Fairy Godmother ́s magic spell, which also looses it ́s effects in the most inappropriate moments. It also has an unexpected side effect, making her a murderous criminal mastermind. In fact, Satanik is a sort of female version Dr. Jekyll and Mister Hyde, with two alter egos that hide beneath the surface her real desires that remain unspoken. She is the modern example of personification of the dichotomy between outward gentility and inward lust. This dark side of her personality was not active, before she drank a beauty serum. Famed psychoanalyst Sigmund Freud (1920, p. 37) called it repression. He believed that, humans repress some frightening or painful events and desires from their conscious minds, which are then banished to the unconscious mind. Those thoughts are not gone, however, but remain to affect the thoughts and actions of the conscious mind. In Freudian theory, a Jekyll and Hyde situation in real life creates a dual personality in one person. Sometimes that person seems more like the good Dr. Jekyll, but at certain times, the evil Mr. Hyde emerges.
23 Term by Naomy Wolf
“La Rossa del Diavolo”, or literally Diabolik Red gained her nickname because of her red hair and cruel violent character. Satanik frightened the readers because her insatiable desire for money, men, power, sex and success, but, at the same time, she also attracted them “by her anarchic and violent rebelliousness” (Moliterno, 2003, p. 745). Complex and fascinating character she is condemned to solitude because of her duality. According to Guzzetta and Zaghini (2009, p. 99), despite character ́s cruelty […], she is a heroine, frustrated by unhappiness and loneliness, seeking for approval and acceptance: one should consider that Marnie tries to gain respect from people around her by working hard (at the beginning she is a talented researcher), but she soon realises that her ugly appearance prevent her from finding a man and being successful. In good or bad she is always alone and lonely, because she is rejected by the whole world, and then, she doesn ́t love herself and has a great lack of self- acceptance. The readers understand, that behind her seductive appearance there ́s an ugly truth and her real nature hides hatred against the world but still fall victims of her charm. It is not by chance, that Magnus represents men as week figures opposite to women that consider them inferior and treat them as their servants and instruments for getting pleasure (Ibid, p. 90). The story is told from Marnie ́s point of view, hence all the male figures appear to be plain and often hypocritical. They openly show their disgust in towards her unpleasant appearance and get to desire her when she turns into a young beautiful lady. Often, those who fall victims of her hate are the transgressors from her past.
CONCLUSION
Comic books as a cultural product of mass consumption, or, in other words, a product of popular culture, grew from low culture and can be seen as a mirror of society they emerged from and contributed to it ́s formation. They can ́t be dismissed only as a medium of amusement and entertainment but as a force that creates mass consciousness. Italian fumetti created in a period of an extraordinary social, cultural and economic change should be seen and understood from the lens of the popular culture as a shorthand to what happened at the time and how it was seen and experienced.
A revolutionary female character Satanik created by artistic duo Magnus & Bunker appeared in a male dominated world of comics as an example of pioneering, progressive approach to female representation. A heartless killer and an unstoppable symbol of women’s sexual power, she embodies every man’s erotic dream and makes a social statement resonating not only with men and women of her time but also with people of later generations that saw her as a liberated figure, breaking down the gender-norms and ideologies. Female readers, especially the ones who don ́t see themselves as fitting the canons of beauty myth set by society, can consider Satanik as a liberated and empowered woman, fighting for her rights against oppressive society. Satanik is concerned with freedom and what it means to be free confronting the hypocritical world, that judges women only by appearance, oppresses them by characterizing as incomplete – “the Other”. With her defiance attitude she declares about her existence and proves that she is haunted by a sense of her femininity. Even now, after 50 years from her creation, her figure remains contemporary and continues to inspire and fuel women and feminism.
REFERENCES
Berger, J. (1972). Ways of Seeing. Penguin.
Curti, R. (2015). Italian Gothic Horror Films, 1957-1969 McFarland.
Curti, R. (2016). Diabolika: Supercriminals, Superheroes and the Comic Book Universe in Italian Cinema. Midnight Marquee Press, Inc.
De Beavoir, S. (2011). The Second Sex (C. B. and & S. M. Chevallier, Trans. 1 edition ed.): Vintage.
Favari, P. (1996). Le nuvole parlanti: Un secolo di fumetti tra arte e mass media Dedalo Freud, S. (1920). Dream Psychology: Psychoanalysis for Beginners. Management
Laboratory Press.
Guzzetta, E., & Zaghini, S. (2009). Le donne del fumetto. L’altra metà dei comics italiani. Temi, autrici, eroine al femminile: Tunué.
Laterza, R., & Vinella, M. (1980). Le donne di carta. Personaggi femminili nella storia del fumetto. Bari: Dedalo.
Lonzi, C. (1974). Sputiamo su Hegel (Let’s spit on Hegel). Writings from Rivolta Femminile (Female Rebellion), 3-19.
Marrone, G., & Puppa, P. (2006). Encyclopedia of Italian Literary Studies. Routledge. Moliterno, G. (2003). Encyclopedia of Contemporary Italian Culture (1st Edition ed.):
Routledge. Mulvey, L. (1975). Visual pleasure and narrative cinema. Film Theory and Criticism:
Introductory Readings, 833-844. Walter, N. (2011). Living Dolls: The Return of Sexism. (Reprint edition ed.): Virago. Zeisler, A. (2008). Feminism and Pop Culture. Seal Press.
CC BY-NC-ND This work is licensed under the Creative Commons Attribution-NonCommercial-
NoDerivatives 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/4.0/ or send a letter to Creative Com- mons, PO Box 1866, Mountain View, CA 94042, USA.
How to cite this book:
Duarte, E. (Ed.) (2019). Doctoral Design Conference’19: TRANSformation. Proceedings of the DDC 6th Conference. Lisbon: IADE, Universidade Europeia / EDIÇÕES IADE. ISBN: 978-989-8473-27-1
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Satanik – Woman Antihero. Magnus & Bunker ́s fumetti and gender issues
Olga Galeeva (a, b)
Flavio Almeida (a,b)
Teresa Lousa (c)
a IADE, Universidade Europeia, Av. D. Carlos I, 4, 1200-649 Lisbon, Portugal
b UNIDCOM/IADE – Unidade de Investigação em Design e Comunicação, Lisbon, Portugal olga.olillia@gmail.com; flavio.almeida@universidadeeuropeia.pt;
c FBAUL/ Universidade Nova de Lisboa, Lisbon, Portugal teresa.lousa@gmail.com
ABSTRACT
The paper will focus on the analysis of female characters in the art of famous Italian duo of artists Magnus & Bunker that reflected the cultural freedom and loosening of moral grip of the Catholic Church. The aim is to study the concept of women representation in Italian adult comic books of the era with attention to different aspects of their visual and narrative presence and with the support of feminist and psychoanalytic issues to offer a new insight into the portrayal of women. As the object of study, will be used female antihero Satanik, a character created by Magnus & Bunker in 1964. Satanik is distinguished from the others of the genre by the massive presence of horror and erotic tones. Running for 10 years it ended in 1974 with 231 issue. The study will include the following selection of books from the series: N1 “La legge del Male” (literally The law of harm), N185 “Le Origini di Satanik” (The origins of Satanik), N47 “Il Faro del Golfo Nero” (The Farol of Black Gulf) and N62 “La vita sbagliata di Mae Wildt” (Wrong life of Mae Wildt). These books are not randomly selected but there ́s a connection between them in terms of narrative. The character of Satanik will be analysed in terms of her role as a mirror of society and judged in sexual and non-sexual context. The analysis will be narrowed to the artist ́s narrative and graphic approach to women representation and explore whether Satanik represents a reflection of her author ́s fantasies, created for pleasure of male audience, or she can be seen as liberated empowered figure, a Beautiful lady without mercy”16 and a nemesis against men and society. Furthermore, it is argued that this power was transmitted to actual women readers and their empowerment have influence on today’s visual communication.
Keywords: Magnus & Bunker, fumetti neri, women representation, feminism, comic books
16 Belle Dame Sans Mercy – is a ballad produced by the English poet John Keats in 1819. he poem is about a fairy who con- demns a knight to an unpleasant fate after she seduces him with her eyes and singing. The poem continues to be referenced in many works of literature, music, art, and film.
INTRODUCTION
Roberto Raviola (also known under the pseudonym Magnus)17 and Max Bunker (known under pen-name of Luciano Secchi)18 are two of the most famous and influential figures of the Italian comic-book genre, that emerged in the mid-sixties and became known as the fumetti neri (the black comics). Young and adventurous, they took inspiration from classic literature, mixing Robert Louis Stevenson with Oscar Wilde, Howard Phillips Lovecraft and Edgar Allan Poe. As comics historian Castaldi says, their works were “the most important link between the comics of the ’60s and those of the post-’77 era” (2009, p. 36). The creative duo simply known as Magnus & Bunker is considered one of the most controversial of the decade of fumetti neri. The artists realised the potentials behind Diabolik and what they could add to it, so they added more grotesque, horror, eroticism, sex and violence. Bunker, the writer, came up with great creative ideas which Magnus, an original, innovative artist with a peculiar, sharp style, managed to expand and visualize. Anthony Logan/ Kriminal and Marny Bannister/ Satanik were often censored because of the violence and sex scenes they featured. Ruthless, cold-blooded antiheroes, that kill and seduce, as if it was the most natural thing in the world, they became a symbol of dissolution of traditional values, sending a moralistic and prudish Italian society into a kind of nervous agitation.
Released in 1964 “Satanik” was a second creation of the duo and is considered even more significant for the history of Italian comics than her twin-brother “Kriminal”, because the main character of the story is an evil woman antihero. A stunning heartless killer Satanik is according to Roberto Curti (2015, p. 6) an evolution of the Beautiful lady without mercy of literature and opera. Satanik can be distinguished from others of its kind by the massive presence of supernatural and horror elements. The comic book, in black and white small pocket size format, was published for ten years, surrounded by many controversies, and ended in 1974. It had several problems with censorship, was reprinted various times, and is still considered a classic. Satanik was named Demoniak in France, in order to avoid confusion with Killing, which had been translated in French as Satanik.
I. A GREAT PAINTER DID IT
Roberto Raviola, better known as Magnus, was born in Bologna, Italy, on May 31st, 1939. The pseudonym was ironically derived from the Latin expression “Magnus Pictor Fecit” (“A Great Painter Did It”). After graduating from high school he then enrolled in a scenography course at the Academy of Fine Arts of Bologna in 1961. He started out as an illustrator before switching to comics in 1964 when he was invited to start working with Milanese writer Luciano Secchi a.k.a. Max Bunker. Together they produced very successful series “Kriminal” and “Satanik” in 1964, Dennis Cobb in 1966, inspired by Ian Fleming’s 007 and in 1966 Gesebel, inspired by Barbarella of Jean Claude Forest, and “Alan Ford” in 1969. As a result, the duo became a mainstay of Italian comics throughout the ’60s.
Magnus revolutionized his stories on a visual level, by using an innovative approach: a beautifully rendered black and white comic strip to recreate different atmospheres.
17 Max Bunker, aka Luciano Secchi (born August 24, 1939)
18 Roberto Raviola aka Magnus (1939-1996)
Master in his craft, an inspiring and imaginative character-creator and world-builder, he also had a very distinctive style of inking. As Pietro Favari (1996, p. 107) says, his drawing technique takes his negative heroes to a higher level of stylistic quality quite unusual for the time. The striking contrast between black and white and ability of employing screen printing and crosshatching make him a real master of the fumetto art. The author goes beyond stereotypical erotic representations. Magnus pays attention to details and particulars, gives rhythm to the story, increasing its expressive strength with brilliant use of blacks and silhouettes. The rigid 2-panel-per-page format (printed as small, pocket-size paperbacks) had the effect of a productive creative restraint on their composition and story-telling. He creates some interesting layouts, with the use of negative space and feathered inking, that, further inspired Charles Burnes19 (Fig.1). Moreover, Roy Lichtenstein20, who ́s paintings are considered iconic examples of the Pop-art movement of the 20th century appropriated the techniques and styles of fumetti neri using them in his captivating compositions. The artistic quality of Magnus ́s graphic stories are quickly recognizable. Magnus designed only the black silhouette for the main character and introduced film-shot-like vignettes, which gave life to a new way of designing comics.
Figure 1
A collage made by me: on the left a page from “Satanik” by Magnus, on the right a page from “dark Hole” by Charles Burnes.
Magnus ́s beautiful creation Satanik, that took advantage of her sex appeal to conduct her crimes was quite innovative for her times and is still a symbol of women’s sexual power and provides inspirations for fashion designers (Fig.2). Canadian designer Kat Marks, whose collections quite often revolve around the theme of empowerment, with exaggerated shapes and hint fashion and sexuality, created some pieces that evoke in their colours, shapes and materials Satanik’s costume. Tomas Maier’s at “Bottega Veneta” reinterpreted the themes of empowerment in his own original way in the Fall/Winter 2010 collection.
19 Charles Burns (born September 27, 1955) is an American cartoonist and illustrator and one of the most notori- ous authors of horror comics.
20 Roy Lichtenstein – (October 27, 1923 – September 29, 1997) was an American pop artist. During the 1960s, he became a leading figure in the new art movement. His work defined the premise of pop art through parody.[2] Inspired by the comic strip.
On the left: a dress by Tomas Maer, On the right: Kat Marks design pieces.
During his lifetime, artist ́s work was published in the most respected, cutting-edge, adult-oriented comics magazines of the day, including Heavy Metal, Totem, and Frigidaire. He gave himself freedom to experiment different genres from noir to comic and from eroticism to sci-fi and western. His effortless use of clear line, blend of eroticism and attention to details, long-legged stunning women in suspenders and lingerie caused a lot of problems to the medium of fumetto, but, nevertheless, regarded as an essential milestone in the context of adult comics in Italy. In 2015, a prestigious literary publisher “Mondadori comics” reprinted the complete series designed by duo Magnus& Bunker and then Romanini21 and Peruccia, after the duo left their work on the strip. The reprint edition includes 14 issues in chronological order.
II. FUMETTI NERI
Fumetti, officially appeared in Italy in 1908, with a creation of Corriere dei Piccoli (Children ́s Newspaper) and were exclusively seen as a pedagogical tool and were very much censored. Corriere dei Piccoli shortly named “Corrierino” introduced American comics to an Italian audience. With a great impact of American culture on Italian comics creators, the first modern female character, a Tarzan-like Pantera Bionda (The Blond Panther) was introduced to Italian audience. Created by Gian Giacomo Dalmassio and Enzo Magni (under pen name Ingam) in 1948, she was inspired by American jungle queen Sheena22. The comic book immediately gained huge success and according to Laterza and Vinella (1980, p. 135) was the first female character in Italy that made her way through self-affirmative sexuality. A major reason of the great success was her costume – a leopard skin-top and a tiny bikini. The Blond Panther was a sort of jungle pin-up with gorgeous body, trained to perfection – aggressive and absolutely independent. She swang through the jungle, with the agility of Tarzan and was also a highly skilled horse rider and an archer viciously confronting tropical dangers.
21 Giovanni Romanini (1945, Bologna) Italian illustrator famous for his collaborations with artists like Magnus& BUnker
22 Sheena, created by Will Eisner, was the first female comic book character to have her own series which debuted in spring 1942, preceding Wonder Woman which came out in summer the same year.
According to Franco Fossati, cited by Guzzetta and Zaghini (2009, p. 60), despite the presence of her partner, a handsome American explorer Ted (or Fred in some versions) she didn ́t need any protection from men but found it useful to have a lover and admirer. Together they had numerous adventures full of action and violence and fought against Japaneese troops and other different sorts of criminals. Her extremely brief costumes and self-affirmative use of sexuality caused increasing pressure from the conservative Italian establishment and Catholic Church. The publishers of the Blond Panther were subsequently dragged into court and forced to suspend publications. After eight month of life the heroine was legally required to wear more clothing. Her little skirt was eventually stretched to cover her below the knees, and her bra expanded to conceal her shoulders and torso. The Blond Panther can be considered not only the first real heroine of Italian comics but a pioneer of the genre that will explode in the 1960s and also a proto-feminist whose sexuality was a positive source of empowerment. The Blond Panther was too emancipated for the moralistic and prudish Italian society. She didn ́t frighten the authorities with her nudity but with her total liberation and inability to accept a subordinate role in a male world. The idea that women might be strong fearless fighters who were not submissive to men, but equal, was a disturbing thought for the traditional male-dominated society, and this attitude was not limited to Italy. Sheena, her predecessor in America, was also accused of fostering sexism, violence and providing young readers with over-sexualized role models. The Blond Panther gave only the start of new era when men and women began to examine their roles and to question whether they might need to make a few adjustments in their thinking. In this regard, Carla Lonzi (1974, p. 3) points out, “What is meant by woman’s equality is usually her right to share in the exercise of power within society, once it is accepted that she is possessed of the same abilities as man.[…] Existing as a woman does not imply participation in male power, but calls into question the very concept of power.”
Emerged as a reaction to the economic boom and focused exclusively on male protagonists, “sexy violent antiheroes”, adult comics, better known as fumetti neri (the black comics) became all the rage in Italy of the 1960s. According to Encyclopedia of Contemporary Italian culture, the phenomenon of fumetti neri, was spontaneous and responded to the public’s expectations and changes in taste (Moliterno, 2003, p. 178). The first comic book “Diabolik”, labelled “for adults only”, created by sisters Angela and Luciana Guissani came out in 1962, introducing a new genre and a new format (128 pocket-sized pages, two panels per page, with a complete story) and giving birth to the fumetti neri phenomenon. The comic strip rapidly became a hit because it suited the mood of the times and tapped into many people’s deepest, most selfish fantasies. In Italy, where sexual matters were considered taboo, morals were changing and censorship loosening, hence, this was a perfect moment for a new trend.
Diabolik was a super-criminal in many ways opposite to an American superhero, with trendy evocative outfits and gadgets, gorgeous partner and insatiable desire for money and sex. His partner in love and crime, Eva Kant, first appeared in the shadow of “King of Crime”, but with time evolved into one of the most famous female comics characters in Italy and a symbol of the emancipated woman in Italy. The pioneering example of Diabolik still retains a large popularity and continues to be published even today. Diabolik became an irresistible temptation for Italian readers, battling against censorship and moralistic repression and made possible everything that was forbidden in comics: from explicit violence, to radical political ideas. Roberto Curti (2016, p. 16) calls fumetti neri a “key moment” in the evolution of sexual matters and points out, that “comics existed in a universe totally of their own, where anything could happen, and readers could project all kinds of fantasies, with even ampler freedom than films would allow.”
Inspired by Diabolik, the industry of the medium produced an endless series of it’s imitations. Cheaply printed and barely edited, they flooded the market, copying the format and featuring masked anti-heroes as main characters. The stories mostly involved murders, robbery, sex, horror and other hinted forbidden content. Many of them had quite bizarre names like Fantax, Demoniak, Sadik, to mention just a few with the inevitable “K” in the names as an instant reference with the genre. Other successful fumetti neri and the most significant ones among many Diabolik follow-ups, were skeleton-masked “Kriminal” and the sexy evil “Satanik”, both created in 1964 by Magnus & Bunker for Milan publisher Andrea Corno.
Their stories were innovative and far more violent and sexually explicit than those of their predecessor and broke the boundaries that Diabolik did not dare. Issued in small pocket-size and a two-panel page grid they were dominated by robbery, corruption, murder and sex, along with Magnus ́s expressive style and characteristic heavy blacks and thick lines. They employed more elaborate graphic style and introduced many innovations in the Italian comics landscape and, according to Castaldi (2009, p. 36), were “the most important link between the comics of the ’60s and those of the post-’77 era”. The duo destroyed traditional values adding to their story grotesque and black humour and exploring the boundaries between horror and satire. Curti (2016, p. 49) says, that they displayed a cynical attitude that concealed a social commentary on an increasingly hollow and empty society founded on greed and moneymaking – where there were no moral values to be found. “Kriminal” and “Satanik” come out as an interesting contrast to “Diabolik” that took the use of sex and violence to an entirely different level. Both “Kriminal” and “Satanik” featured violence, crime and sex, but Satanik was considered as more dangerous representing everything that society wanted to repress, especially women’s sexual power.
The year 1965 marked the beginning of a violent campaign against adult comics. Fumetti were accused of corrupting the youth and blamed of negative morals they heralded not to mention daring erotic content. Due to the violence and the explicit erotic scenes in the comic books, Bunker and Raviola had problems with Italian censorship. Bunker was prosecuted several times, but never condemned. The panels depicting semi-nude women were often censored even by the publisher. At the same time, according to Encyclopaedia of Italian Literary Studies (Marrone & Puppa, 2006, p. 789) the medium was recognised as a mainstream cultural expression.
III. SATANIK –WOMAN ANTIHERO
Debuted in December 1964, following the success of “Diabolik”, “Satanik” was a second fumetto nero character, created by Magnus and Bunker. Marnie / Satanik took her name from the heroine of the psychological thriller film by the same name, directed by Alfred Hitchcock and released the same year. Satanik caused a big fuss when it came out and, somehow it is more important for the history of Italian comics than the “Kriminal” because it features an evil woman antihero breaking a gender boundary in the male dominated comics industry. The story can be distinguished from others of its kind by the massive presence of supernatural and horror elements. The protagonist of Satanik was Marnie Bannister, a middle aged scientist, whose face is marked by an unpleasant angioma. The third daughter of an alcoholic and a narrow-minded housewife, she lives with her parents and two beautiful sisters Dolly and Lydia, who continuously humiliate her because of her unpleasant appearance. One day, sick of the abuse and filled with rage against the world, Marnie invents a serum following a theory of a mad alchemist Masopust for whom she works as an assistant. After drinking the serum and going through a painful transformation, Marnie is turned into a cruel, sensual seductress Satanik with neither morals nor sexual inhibitions. Naturally, her repressed anger transforms into an open revenge turns into a criminally insane woman and an unstoppable symbol of women’s sexual power and might even seem a radical feminist. Here, it is important to examine the role of women in Italian culture of the era from a feminist perspective.
In Italy, as patriarchal country dominated by moralistic values of Catholic Church women were seen as inferior to men and a female body was seen as the object of the male gaze. The 1960s were years of profound change, social and Cultural Revolution, that has had an indelible effect on the art in general and comics industry in particular. If before the 1960s female figures in comics were quite scarce now they started becoming more prominent in this male dominated field. In fact, the world of comics has been often accused of sexism. Fumetti with a centralized figure of a woman came up as a reflection of culture and a reaction to radical changes the country was experiencing. As Natasha Walter (2011, p. 5), a British feminist writer, posits, this highly sexualized culture is often positively celebrated as a sign of women’s liberation and empowerment. Depicted in her contextual and visual extreme Satanik had her own reasons for existing, beyond simply providing another sexy character for the pleasure of male viewer. As French philosopher and existentialist Simone de Beauvoir in “Second Sex” explains, that woman is always the “other” because the male is the “seer”: he is the subject and she the object – the meaning of what it is to be a woman is given by men. De Beauvoir claims, that “for the woman there is, from the start, a conflict between her autonomous existence and her “beingother”; she is taught that to please, must make herself object; she must therefore renounce her autonomy. She is treated like a living doll, and freedom is denied her; thus a vicious circle is closed; for the less she exercises her freedom to understand, grasp, and discover the world around her, the less she will find its resources, and the less she will dare to affirm herself as subject (2011, p. 342).”
Andi Zeisler in her book “Feminism and Pop-culture” focuses on women and explains how the pop culture effects the way women see themselves and engage with visual media. She explains the often-cited feminist term “the male gaze”, by citing Berger’s “Ways of Seeing”: “Men act and women appear. Men look at women. Women watch themselves being looked at. This determines not only most relations between men and women but also the relation of women to themselves. The surveyor of women in herself is male: the surveyed female. Thus she turns herself into an object—and most particularly an object of vision: a sight” (1972, p. 47). Further, she outlines Laura Mulvey’s (1975, p. 835) “Visual Pleasure and Narrative Cinema” idea of female “to-be- looked-at-ness”. Woman is “spectacle”, and man is “the bearer of the look”. According to Zeisler the male gaze is the idea that when we look at images onscreen, we’re seeing them the way men do – even if we are women (this is what Mulvey didn ́t suggest – because those images are constructed to be seen by men. “Without pop culture’s limited images of women, many actual women in the real world might not have been inspired to fight for more and better representations of themselves (2008, p. 8).
Roberto Curti (2016, p. 119) compares Satanik, despised by her mother and two older sisters, to Cinderella, a beauty ideal that is shown to young girls. Cinderella is submissive and quiet and her external beauty is synonymous with her moral purity. On the contrary to Cinderella Marny/Satanik is not a beauty myth23. She is not supported by society but rejected by the whole world, including her entire family. Her heart is not filled with love and purity but with anger and revenge. Though, the beauty serum is an update of the Fairy Godmother ́s magic spell, which also looses it ́s effects in the most inappropriate moments. It also has an unexpected side effect, making her a murderous criminal mastermind. In fact, Satanik is a sort of female version Dr. Jekyll and Mister Hyde, with two alter egos that hide beneath the surface her real desires that remain unspoken. She is the modern example of personification of the dichotomy between outward gentility and inward lust. This dark side of her personality was not active, before she drank a beauty serum. Famed psychoanalyst Sigmund Freud (1920, p. 37) called it repression. He believed that, humans repress some frightening or painful events and desires from their conscious minds, which are then banished to the unconscious mind. Those thoughts are not gone, however, but remain to affect the thoughts and actions of the conscious mind. In Freudian theory, a Jekyll and Hyde situation in real life creates a dual personality in one person. Sometimes that person seems more like the good Dr. Jekyll, but at certain times, the evil Mr. Hyde emerges.
23 Term by Naomy Wolf
“La Rossa del Diavolo”, or literally Diabolik Red gained her nickname because of her red hair and cruel violent character. Satanik frightened the readers because her insatiable desire for money, men, power, sex and success, but, at the same time, she also attracted them “by her anarchic and violent rebelliousness” (Moliterno, 2003, p. 745). Complex and fascinating character she is condemned to solitude because of her duality. According to Guzzetta and Zaghini (2009, p. 99), despite character ́s cruelty […], she is a heroine, frustrated by unhappiness and loneliness, seeking for approval and acceptance: one should consider that Marnie tries to gain respect from people around her by working hard (at the beginning she is a talented researcher), but she soon realises that her ugly appearance prevent her from finding a man and being successful. In good or bad she is always alone and lonely, because she is rejected by the whole world, and then, she doesn ́t love herself and has a great lack of self- acceptance. The readers understand, that behind her seductive appearance there ́s an ugly truth and her real nature hides hatred against the world but still fall victims of her charm. It is not by chance, that Magnus represents men as week figures opposite to women that consider them inferior and treat them as their servants and instruments for getting pleasure (Ibid, p. 90). The story is told from Marnie ́s point of view, hence all the male figures appear to be plain and often hypocritical. They openly show their disgust in towards her unpleasant appearance and get to desire her when she turns into a young beautiful lady. Often, those who fall victims of her hate are the transgressors from her past.
CONCLUSION
Comic books as a cultural product of mass consumption, or, in other words, a product of popular culture, grew from low culture and can be seen as a mirror of society they emerged from and contributed to it ́s formation. They can ́t be dismissed only as a medium of amusement and entertainment but as a force that creates mass consciousness. Italian fumetti created in a period of an extraordinary social, cultural and economic change should be seen and understood from the lens of the popular culture as a shorthand to what happened at the time and how it was seen and experienced.
A revolutionary female character Satanik created by artistic duo Magnus & Bunker appeared in a male dominated world of comics as an example of pioneering, progressive approach to female representation. A heartless killer and an unstoppable symbol of women’s sexual power, she embodies every man’s erotic dream and makes a social statement resonating not only with men and women of her time but also with people of later generations that saw her as a liberated figure, breaking down the gender-norms and ideologies. Female readers, especially the ones who don ́t see themselves as fitting the canons of beauty myth set by society, can consider Satanik as a liberated and empowered woman, fighting for her rights against oppressive society. Satanik is concerned with freedom and what it means to be free confronting the hypocritical world, that judges women only by appearance, oppresses them by characterizing as incomplete – “the Other”. With her defiance attitude she declares about her existence and proves that she is haunted by a sense of her femininity. Even now, after 50 years from her creation, her figure remains contemporary and continues to inspire and fuel women and feminism.
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Title: Doctoral Design Conference’19: TRANSformation
Proceedings of the DDC 6th Conference
Editor: Emília Duarte
Collection: Proceedings of the IADE & UNIDCOM Doctoral Design Conferences Publisher: Edições IADE
2019, Lisbon, Portugal
ISBN: 978-989-8473-27-1
Website: http://ddc2019.unidcom-iade.pt/
CC BY-NC-ND
This work is licensed under the Creative Commons Attribution-NonCommercial-
NoDerivatives 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/4.0/ or send a letter to Creative Com- mons, PO Box 1866, Mountain View, CA 94042, USA.
How to cite this book:
Duarte, E. (Ed.) (2019). Doctoral Design Conference’19: TRANSformation. Proceedings of the DDC 6th Conference. Lisbon: IADE, Universidade Europeia / EDIÇÕES IADE. ISBN: 978-989-8473-27-1