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The book was optioned earlier this summer for a movie treatment by the Gotham Group. His court battle to get a firm piece of the pie was lost and the co-creator of one of the most recognizable icons in the world found himself on the skids, banned by the comic book industry that he started. In the end, the Supreme Court had to get involved to keep the so-called comic obscenities of Shuster and other alternative artists in line.

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Hi guys, Judy Fawcett here 'The Mistress of Distress' presenting yet another book titled, Damsels In Bondage, it is the definitive book on comic book covers with damsels in distress. As you know if you read my bio, I grew up reading comic books. It all started when I would sneak in my brother's room, grab one or two of his comics and kidnap them back to my room and read them.

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Nine Antico's Paris studio sits off rue Saint Denis which, for centuries, has been a red-light district. Its rag-trade sweatshops alternate with peep shows and the corners are punctuated by women in towering heels. To reach Antico's workplace you travel down a dim passage, cross a tiny court, and take five flights of stairs. Although it's just the name of a ground floor garment factory, this could well serve as the motto for all Antico's heroines.

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The portrayal of Women in American comic books have often been the subject of controversy since the medium's beginning. Critics have noted the roles of women as both supporting characters and lead characters are substantially more subjected to gender stereotypes, with femininity and or sexual characteristics having a larger presence in their overall character. During the Golden Age of Comic Books a time during which the medium evolved from comic strips women who were not superheroes were primarily portrayed in secondary roles, with some examples being classified as career girls, romance-story heroines, or lively teenagers.

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It's Metafilter's 20th anniversary! To celebrate, scan some cats or help fund Mefi! Comic books and bondage.

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William Marston, the psychologist and comic author who created Wonder Woman, believed that the only way to save the world from war was for women to rule the world and for men to become more like women. Marston was, among other things, a noted psychological researcher and an enthusiastic bondage fetishist; he believed comic books were a great form for educational, anti-patriarchy propaganda. Wonder Woman was designed to bring the world to matriarchy through confronting abuse and modeling girl power, genderfucking, bondage play, and erotic mind control.

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Using close readings of individual issues, Berlatsky discusses how writer and artist worked together to created a feminist icon, and a comic which challenged the common preconceptions of superhero conventions, whilst also addressing serious issues including rape and incest. This was a particularly fascinating thread, placing Wonder Woman within a wider literary canon, whilst considering the implications of being bound both literally and metaphorically. Critics including Gloria Steinem have neglected to engage with the recurring bondage imagery; Berlatsky suggests that the regularity with which Wonder Woman and other characters are pictured as having been bound and gagged can be perceived as laughable or embarrassing, and thus he calls for further critical engagement with the images.

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