The Significance of Kale and Caulifla on Dragon Ball Super

Dragon Ball Super has reached a milestone of 101 episodes and it proves the franchise is as lively as ever. The anime and manga series has captivated audiences globally with its action and fascinating characters. The great addition to the Dragon Ball universe is the appearance of female super saiyans. For many years fans have only conceptualized this through fan art across the internet and now it is a reality. Women fighters were a rare occurrence in the series. The character Kale was dubbed by fans as the “female Broly.” As one can clearly observe this is more of a homage to a non-canon character. It seems their personalities are similar, however Kale may see some character development. This is an excellent choice, because it is essential that Kale develop to distinguish between two different characters in the Dragon Ball universe. Caulifla who is not a homage or reference to another character has been changing as well. This must continue to avoid the problem of tokenism that occurs in various forms of media. A female character should not be there just to placate some demand by fans or be a stock character. They should have critical roles and be a part of the action. The hope is that the series takes this into consideration. One aspect that should be praised about these characters, is that they were not afraid to have a unique character design. During their transformations they displayed powerful bodies and rarely do cartoons depict women with such a body type. Fan reactions to the characters are divided, but it seems overtime audiences will warm up to them. Criticisms mostly are directed at the power scaling and what some see as a marketing gimmick by Toei Animation.

        Kale when she is first introduced is a timid and rather low self-esteem individual. When Caulifla encouraged her to enter the Tournament of Power, she was plagued with self doubt. However, before she did reach the berserker super saiyan form when triggered emotionally. Just like Broly, she was uncontrollable and murderous. Caulifa was able to calm her down and prevented Cabba from possibly being killed. Kale again goes into her Legendary super saiyan  form during the tournament, but puts everyone at risk. Goku is the first victim of her assault, but Jiren then stops her. When Kale transforms the next time she has control. This shows a progression in character development. Kale is gradually going from a timid and uncertain individual to a confident person. When she saw Caulifla in distress, she realized a change had to be made. She was becoming tired of being a burden. Once Kale overcomes her insecurities she will be a self actualized individual. Her third time transforming was not just a physical one, it was a mental one. Kale did something Broly could never do and control the legendary super saiyan form.

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This change in personality is a great development and adds depth to the character. Kale still has a long way to go in terms of mastery of this form, but it will be interesting to see where it leads. If Dragon Ball Super does this correctly would could see a very entertaining character. Kale may see a transformation from fear to fierce. It is uncertain where this arc will go, but hopefully the saiyans of universe 6 will survive.

       Caulifla stands out as unique character as well. She does fall into a “tough woman” stock character. These women characters are suppose to have an I don’t need anyone attitude and generally not very emotional. While it seems that Caulifla would fall into this one dimensional role the series changes this. Caulifla is very protective of Kale and despite what appears to be a harsh personality cares about her protege. She encourages and attempts to motivate Kale even when she doubts herself. At first she comes off as arrogant when first meeting Goku, but then begins to almost befriend him when fighting. The encounter was belligerent at first. She attempted to intimidate Goku with her new form. It had power, but lacked speed.

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Caulifa versus Goku

Many Dragon Ball fans remember that Trunks attempted to use this form on Cell. While Caulifla seems cocky at times, this was a point in which she took advice from a more experienced fighter. Being very talented she was able to reach super saiyan two. Astounded by its power she continued to fight with Goku. When Cabba came to recruit her for the tournament, she cared little about the fate of the universes. Her only interest was acquiring a new form to elevate her power.This could change as she meets new people. Goku could have easily knocked her off the ring, but did not. It could be that he wants her to keep fighting so her stamina would drain. These are only theories. Caulifa may have found some form of friendship with Goku. She may be opening up to being a kinder person. Caulifla has much pride, but could be learning to be more humble and learn from the experiences of others. She may prove to be a helpful ally to Goku and his friends later on.

      The character designs for both characters should be praised. Normally female characters are portrayed as thin to an exaggerated extent. Even when they are supposed to be physically strong this default character design is used. Dragon Ball Super broke that convention having the saiyan women appear just as powerful. Not only that, it is clear they do not need assistance from the male cast. It is common for the damsel in distress trope to used redundantly. Here it is not can it is apparent that Kale and Caulifla can take care of themselves. One problem is that the physically strong woman is normally presented as a threat, anomaly, or the punchline to some gender based joke. The story arc has not used any of these common stereotypical roles. The physically strong woman either falls into two notable tropes. They are either cast as the amazonian beauty or brawn hilda. The strange aspect about Kale is that she could fall into both, yet she is still an evolving character. Caulifla, while not as athletic looking in her base form may not fit in either and could be  more associated with the action girl trope. The action girls seeks adventure and danger. They rarely back down from a challenge.

It seems that they are now better fighters than Cabba himself. The animators and creators of the series were not afraid to give these female characters a different character design. Some of more conservative taste would scoff at the idea of female characters drawn this way. The point of making a cartoon character is to design them in a unique way that is recognizable to viewers. These character designs make sense, because Saiyans are a warrior race. They value fighting and physical fitness. Their civilization parallels that of Sparta, Dahomey, and Japan in regards to warrior culture. That means their whole society was invested in war and even conquest. Unfortunately for the Saiyans of Goku’s universe that were the victims of Frezia. Seeing as these characters are super powered being they might as well appear that way. Fans were either shocked see such a design or embraced this as another surprise that Dragon Ball is known for.

There are some who are even enthusiastic about these two characters transformations. Many videos, fan art, and fan commentary have been produced just for the discussion of Kale and Caulifla. The magic of Dragon Ball is that it has the ability to create lovable and enduring characters. Kale and Caulifla are now part of that family. The creation of the character design is just as important as the personality you give that character.

      There appears to be a divide over these character s in the fan community. Some complained that Caulifla going super saiyan happened too fast and was anti-climatic. Detractors also said it cheapened that value of being a super saiyan. There are some problems wit these statements. First, it should be noted that Cabba went super saiyan in the last tournament. Trunks and Goten achieved this form as children. Could it be sexism among certain fans that get vexed that this happened to Kale and Caulifla? There is very little evidence, but there are various instances in which power scaling has been inconsistent. Then there are numerous transformations going from super sayian one to four  following the new form super sayian blue. Goku and Vegeta are the strongest fighters on Earth, so there would be little to be a challenge for them. It should be remembered that Goku was holding back when fight Kale, but it seem like that Kamehahmeha blast could have at least caused some damage. This could mean several things. Kale is either stronger than people realize and their is a possibility that it can increase more. Kale could in an uncontrolled state be stronger, but runs the risk of destroying herself and cohorts. The last theory is that she has reached the full extent of her potential. Caulifla seems to be like Goku in a sense that she has the ability to master techniques fast. Others criticize this as lazy writing, but you could easily say that about Goku reaching super saiyan 3 during the Buu saga.

The point is many characters have become very overpowered and strong. Frankly, there should not be any complaint about power scaling. A franchise that has been around this long is bound to have inconsistencies in its folklore. Maybe it does not create a plot hole at at all. These are an alien species that are operating on a completely different physiological biology. This is only speculative, but more could be revealed as the arc progresses. Another prevalent criticism is that Kale is nothing more than a Toei Animation marketing gimmick. The company realizes that they have many devoted fans and Broly has been a fan favorite. Some were disappointed that Broly was not made cannon. Kale is a homage to the character in a sense as one can see from the outfit and her personality. A faction of fans still call her the “female Broly” even though it appears the character is developing into something different. There are either fans who like the character or dislike her in the series. While it is legitimate to say there should not be a character just to sell products or do fan pandering, it is unfair not to at least give the character a chance. There are fans who also fall into the camp of overwhelming support.

Anyone who has followed Dragon Ball would know there is a huge fan art community. Even before the appearance of these characters fans were drawing what they thought female super saiyans would loo like. Prior to Kale’s official appearance fans were already making art based on a leaked clip. It is wonderful that female characters are gaining popularity in the franchise. Other characters are even coming back to prominence such as Andriod 18. Action series tend to marginalize female characters either regulating them to support roles or merely having no consequence to the story. Dragon Ball was actually different. Looking back, these adventures would have never started if Bulma never came across Goku in the woods. This is significant,because it shows female characters actually doing something of importance and consequence. The arrival of Kale and Caulifla has more significance than some realize.

         Women are becoming manga and anime consumers. There is a change as the anime culture continues to expand internationally. If women are getting interested in Dragon Ball, there should be some representation. It should not just be any uninspired or random character just to placate the advocates of diversity. These should be unique and well developed characters, rather than just token based tropes. So far,it seems the series is doing this right. There could be the possibility of a Vasquez always dies trope. However, the viewer should remain positive. This arc proves to be the best yet and it is clear that the Dragon Ball franchise is not going anywhere any time soon. Just having Kale and Caulifla present sends a message that you can create interesting female characters. This could inspire younger manga artists and animators to experiment with something new. Do not be afraid to draw the women differently or have a unconventional characterization. What makes this series great is that it is very creative and that is demonstrated by its large cast of characters. Kale and Caulifla will stand out as fan favorites.

The Significance of Kale and Caulifla on Dragon Ball Super

Hot Pics # 1

These photograph collections are here to show the beauty and greatness of the female form. They are athletes of various sports who sculpted their bodies into living works of art.

Hot Pics # 1

William Moulton Marston : The Man Behind Wonder Woman

With the release of the Wonder Woman film in 2017, the superhero joins other DC characters that have become s staple in popular culture. Wonder Woman has appeared in television, comics, cartoons, and advertisements. The origins of the character reveal an interesting history and a more eccentric individual who created the character. William Moulton Marston (1893-1947) was a psychologist, inventor, and comic book writer  who conceived the idea of Wonder Woman . Comic books may seem like puerile entertainment to some, but they do have adventurous stories and impressive art. The stories they tell either have social commentary or a wider message. Marston’s creation was made specifically to promote  feminist ideas and  gender equality. Marston was a supporter of the suffragist movement and women’s rights. He had unconventional views about gender relations and lived a life that was rather scandalous at the time. William Marston lived in a menage a trois  with his wife Elizabeth Holloway Marston and Olive Byne. These two women were inspirations to the creation of Wonder Woman and also gave some of their input into the character.  William Marston could be described as many things: a visionary, fetishist, and a possible charlatan. However, these descriptions do not accurately capture a more complex figure. The DC comic book character he created was and continues to be more than just a cartoon character.

          William Moulton Marston did have a feminist vision of society. His thinking was to say the least different from the average man in terms of gender relations in the 20th century. Marston quote reveals much about his feminism when he stated “not even girls want to be girls as long as our feminine archetype lacks force, strength, and power.” Martson believed that women would one day acquire their rights and go on to lead the world to a new era of peace. He did not think this would happen in his lifetime, but thousands of years. The early comics do possess suffragist imagery. The cartoons of Annie Lucasta Rogers featured women in chains. During the 1910s  her cartoons appeared in various news papers devoted to the women’s suffrage movement.  The constant theme of chained woman in her cartoons was to demonstrate women’s lack of freedom in society. Martson continued that imagery in the Wonder Woman comics in the 1940s.

  When Wonder Woman was in a predicament her adversaries in most stories would tie her up. This was not just a simple trope, but had a deeper meaning. Either through her strength or wit Wonder Woman would escape captivity and defeat her nemesis. Her triumph was a metaphor for women’s struggle for equal justice and the elimination of the oppression of women. This message may not be as obvious to a reader who was just exposed to Wonder Woman comics. To the creators it was subtle when inserted into stories giving small psychological suggestions  to devoted readers of the comic.

RogersPeters  Marston was progressive in the sense he was more accepting of different sexual orientations, sexual fetishes, sadomasochism,  and transvestism. His book the Emotions of Normal people claims these elements of sexuality  and  fetishism are not abnormal. These are characteristics unique to individuals. This was written before the sexual revolution in which many of the conservative mores and practices were challenged. Moulton thought such characteristics were not just normal, but were inherited through the nervous system. This can be debated, considering environment also influences an individuals existence. Olive Byne and Elizabeth Holloway contributed to this book with research and writing. Although it was ignored and never got Marston the academic respect he desired, it does provide further insight into his thinking. Marston believed that some required emotional reeducation to accept the parts of themselves that were considered “abnormal” but were in reality normal. Women’s desire to be independent, free, or strong was not abnormal even though society condemns such attributes in women. Only when people change there emotional state in Marston’s  view would society radically change. William Moulton Marston was certain that one day women would rule the world. Matriarchy he stated would be a possibility in the distant future.

         Marston gave was convinced in his own words ” The next hundred years will see the beginning of an American matriarchy- a nation of amazons in the psychological rather than physical sense.” His predictions got even more bizarre saying “in 500 years, there will be a serious sex battle and 1,000 years women will definitely rule this country. “Marston’s predictions seem exaggerated, although may be he was talking more so about the possibilities of the rising second wave and third  wave feminist movements. Women have become more powerful compared to women of the past. The nation almost had a female president sooner than what Marston predicted in 2016.

2A3BBD2B00000578-0-image-a-40_1436042140248    The idea that their are amazons in the psychological sense, rather than physical is interesting. Men did not dominate women due to their greater physical strength. The unequal access to property, education, income disparity,  and legal protection ensured women’s subordination to men. A woman could be physical powerful, but if she has no legal. economic, and political power she could still be vulnerable to an oppressive social system. If Marston was alive today, he could be possibly shocked by the fact women in sports have in a radically different manner changed perceptions about femininity and what it means to be a woman. The female athlete has culturally become a Wonder Woman straight out of a comic book. When Martson created Wonder Woman he wanted a character that presented both beauty and strength. Strength specifically physical strength was considered a male only attribute, is no longer incompatible with beauty or womanliness. Women have never to this extent in human history have developed themselves physically. Women are beginning to define what is beautiful to them, rather than have the concept dictated to them.

Title IX has allowed for the rise of many women athletes. With modern media such as the internet and television the public is getting exposure to to these women with impressive physiques.  It seems there is a level of acceptance for the modern day amazon. These women however do not have the desire to establish a matriarchy or dominate men. Unlike Wonder Woman, they do not battle super villains or go on adventures. William Mouton Martson’s  prediction of matriarchy is clearly wrong. He was right in the regard that the sexes will have more equality in the future. Assuming there is not a collapse in civilization, progress can be achieved. Yet, there is always the threat or reactionary movements or political and ideological  extremism. These threats can happen in both democratic and authoritarian political systems. Martson’s battle of the sexes is unlikely to happen seeing as men and women need each other. It is also erroneous to assume that women want revenge for past abuses. Ever since, Hillary Clinton’s loss in the 2016 election more women have become politically active in the United States and are seeking to run for office. William Marston ‘s prediction of waiting 1,000 years  for more female leadership  could come sooner than one thinks. Various nations have in the past and present have had female leaders. The US lags behind in this regard. William Marston  took the position of cultural feminism of the 19th century, which regard women as more peace loving and that female virtues would lead to a less turbulent society. They emphasized that women’s difference made them morally upright . The problem with this argument was that it promoted gender stereotypes and stated women’s superiority. There is no “superior sex” and women are not all peace loving and nurturing individuals. There are instances in which women participated in war or contributed to their conduct. It is a myth that the world would be more peaceful if women were in control. The ethnic, national, and cultural hatreds are too powerful. Marston’s  theories of the future were not accurate, but it is obvious that he was a firm believer in  progressive era movements. This included not only the suffrage movement, but the birth control movement. When Emmeline Pankurst  was banned from speaking at Harvard University in 1911 for the Harvard Men’s  League for Women’s Suffrage, this had an impact on Marston. The Harvard freshman became more staunch in his support for women’s rights in the face of this act of censorship. When Martson entered the comics world he had already acquire a vast amount of knowledge about the women’s movement and had a Ph.D  in psychology. This allowed him to create not just a cartoon character, but  an icon and symbol for women’s equality.

           When Maxwell Charles Gains got into contact with Marston, comics were facing criticism. The father of the modern comic book  realized that this new industry was facing a public relations problem. Critics claimed comics were an awful influence on children and were too violent. Marston thought that comics were enriching to children. The issue as William Moulton Marston saw it was that there were too many male superheroes promoting “blood curdling masculinity.” Marston realized that a female superhero would stand out as something unique and also promote his beliefs. If young girls saw a strong woman, they would have the desire to become strong independent women in adulthood. The intent was to use this entertainment medium to influence young people’s ideas about women by means of psychology.

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Exposure to certain images in youth does influence attitudes and mores. Here by showing Wonder Woman as a positive figure, the strong woman will not hold a negative connotation. There was special attention given to character design. Wonder Woman’s design was based of the Esquire Varga Girls centerfolds of the 1940s. The women were not rail thin, but more athletic looking and fuller. Her costume even resembled the swim suits that the models would wear. This was later redesigned to have Wonder Woman wearing a skirt. H.G Peters was responsible for the development of the character design. The final version William Moulton Marston was satisfied with. Originally Marston wanted the character to be called Suprema, however Wonder Woman seemed to be a better fit.

Wonder Woman would then make her debut in All Star Comics # 8 in 1941. From that point on she would become of the most recognizable female superheroes. Wonder Woman was unique in the sense that she broke the prevalent trope of damsel in distress. The only roles in comics that women characters filled were either supporting cast , wives, mothers, or a person for the male hero to rescue. William Moulton Marston would continue to write Wonder Woman stories for  the comics until  his death in 1947. The last years of his life were devoted to his creation an embodiment and symbol of female empowerment.

       There is another side to Dr .Marston    involved sexual fetish. The most obvious fetish was bondage that appeared in Wonder Woman comics in the 1940s. Wonder Woman many times was either chained or her enemies were restrained. The breaking of the chains is also a political metaphor, yet it also has a sexual nature to it. There is a relation between dominance and submission in regards to women and men. Marston with his theory was that if men submitted to women’s loving authority, this would create harmony among the sexes. Domination and submission should be traded off between the two sexes. To William Moulton these are harmless sexual fantasies and as long as they do not depict extreme violence or degradation, they are healthy expressions. Submission was not an awful attribute in his view. Dominating and imposing attributes he thought were. There also another element that is ignored. There is an emphasis on Wonder Woman’s immense strength and athletic ability.

peter-wonder-woman-3     This was clearly based on certain sources. The amazons in Greek mythology were warrior women noted for their skill in battle. Drawing on that context this would be an obvious attribute to give the Wonder Woman character. The women that William Moulton Marston knew had athletic backgrounds. Elizabeth Holloway was a field hockey player in college. Olive Byne also played basketball, which is of important significance. Basketball was one the few sports women got access to on US college campuses in the late 19th and early 20th centuries. Alice Marble who served as editor for the comics between 1942 and 1944 was a tennis champion. Besides the bondage theme, he wanted Wonder Woman’s athleticism and physical strength emphasized throughout the comic. Wonder Woman in the comics played baseball, ice hockey, tennis, and swims in some issues There was even one in which she established a chain of fitness clubs. These comics show that Marston had more than just a simple admiration for the female form. His fetish could have been cartolagnia  and  sthenolagnia.

This arousal from the demonstration of strength and display of muscles seems more apparent in Wonder Woman’s fights and general strength feats. Even other characters take notice of her physical abilities. The golden age version of  Wonder Woman only loses her strength when her wrists are chained by a man. The metaphor basically being accepting an oppressive system will never improve anything, because Wonder Woman only loses her power if the is done willingly according to Aphrodite’s law. There has been a segment of men who enjoy a powerful woman whether it is either mental or physical power. William Moulton Marston even explained that ” frankly Wonder Woman is psychological propaganda for the new type of woman, who I believe who should rule  the world.”  Moulton’s new type of woman is one that is powerful mentally, physically, and also has a loving nature.

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The new woman has apparently arrived in some sense. There is a female presence in occupations that were mostly male dominated. Women are emerging  in the science and technology fields. This combined with areas associated with masculinity such as sports, politics,  and the physically demanding occupations means that there has been progress to a new archetype. The development is disjointed and there are disparities that still face women depending on which nation. The same prejudices and hatreds remain. Marston’s new woman has arrived. The new era of peace, however may never come. That theme may have come out the desire to see World War II end. Fascism was terrorizing the world and the idea of a peaceful future was something desirable. Mouton would be very impressed with the women of the modern world and specifically how certain women embody the Wonder Woman principles.

Some women even look more Wonder Woman than what Marston could have imagined. The strides that have been made in such a short period of time are impressive and there is much work that has to be done. Marston’s strong women were the wave of the future and his love for them presented itself through the comics he wrote for. The lasso of truth is not just a tool of Wonder Woman, it is a part of bondage imagery. Wonder Woman used it to make her enemies confess, simultaneously the image of dominatrix becomes apparent. Critics were quick to recognize this imagery.  These depictions were mild compared to a modern day standard. There were even complaints from the National Organization for Decent Literature  about Wonder Woman’s costume being too revealing . That Catholic organization added comics and specifically Wonder Woman to their banned list of books. Maxwell Gaines  tried to even get Marston to reduce  on the bondage imagery by 1943. Marston was never going to eliminate the bondage theme completely, so a solution was made by Dorthy Roubicek  to restrain Wonder Woman in different ways.She was the editor of Gaines and was able to placate member of the editorial board. The amazing element is that the early Wonder Woman comics combined feminism, sexual fetishism, psychology, action, and adventure into a truly unique comic.

       William Moulton Marston  also tended to be somewhat charlatan in certain ventures. His odd combination of careers demonstrated this dimension of his personality. Marston was part inventor developing one of the early polygraphs. The lie detector test Marston claimed was a great discovery in the detection of lies. He claimed it was the science of the detection of deception. Marston even went as far to publish a book called The Lie Detector in 1938. This was not an academic work, but was really attempting to sell an idea to the general public. There really  is not a scientific method of detecting lies. Marston argued this anyway with little evidence or research. This was more apparent with the publicity stunts Marston organized having press conferences and even erecting a booth at the 1939 World’s Fair. The problem with the polygraph is that it cannot repeat the same results. There is a possibility that a competent liar could pass the test with no problems. Marston claimed to be the master of detecting lies. It was apparent that his findings were fraudulent. The first time Marston entered in business it ended in fraud. He was an unsuccessful lawyer and failed to get his polygraph results as admissible evidence. Marston only worked for Universal Studios for one year in 1929 as a consultant before being terminated. The world of academia had pretty much by the 1930s rejected him. Demoted from chairmen of the psychology department to adjunct professor at American University few took an interest in his theories. William Marston made limited effort to explore new elements of psychology, instead focusing solely on his theories. The promotion of the polygraph may have been out of the need to create financial stability. This also explains why Wonder Woman carries a lasso of truth. It is her personal lie detector. There was a showman and conman element to Marston. However, the support for the women’s cause was genuine.

          William Moulton Marston was a fascinating figure. He was a mad who live with both his wife and mistress  and they provide input as wells as inspiration to the creation of Wonder Woman. He could not hold a job for long and was hoping someday his theories would get notoriety. The body of work he produced related to psychology appeared in academic journals or books for the general reading public. This is either forgotten today or merely part of an archive. Marston would not become a Carl Jung, Sigmund Freud, B.F Skinner, or an Abraham Maslow. Ultimately he would be remembered for his contribution to the golden age of comics. Wonder Woman was the first female superhero to have her own comic. Her popularity rivals Batman and Superman’s. There is an enduring legacy and she will continue to part of DC’s star characters. Marston did make one prediction that was correct: women will no longer accept secondary status forever. The eccentric psychologist and writer would be proud of the real life superwomen changing the world everyday.

 Further Reading

   Pollitt, Katha. “Wonder Woman’s Kinky Feminist Roots.” The Atlantic. Atlantic Media Company, 14 Oct. 2014. Web. 09 June 2017. <https://www.theatlantic.com/magazine/archive/2014/11/wonder-womans-kinky-feminist-roots/380788/&gt;.

Lepore, Jill. The Secret History of Wonder Woman. New York : Vintage Books ,2015 .

William Moulton Marston : The Man Behind Wonder Woman

“My, what dimorphic parents you have!” From Family Inequality Blog

My, what dimorphic parents you have!

Another post was composed on Family Inequality in regards to unrealistic body types in Disney cartoons and animated features. The author is a sociologist by trade, but still does not grasp the concept of animation and character design. The posts belong to what the author refers to as the animated gender series. The problem with this is Phillip Cohen does not care for exaggeration in character design. The whole thesis is that unrealistic images of sexual dimorphism are a projection of sexism. These images the are used as a model for how men and women should look or even act. While there is an element of truth to this argument, to blame the general character design of a particular studio is an inaccurate assessment. Too often we see the muscular man and slim woman body archetype. Yet, there are instances in animation in which it is reversed or completely different. If Cohen wants to make a cogent argument all of the Disney animated material should be examined . This could include animated series and films as well. This post is brief and he asks why the level of sexual dimorphism from the characters in Frozen. The explanation is related to character design and animation styles.

              The point of animation is to exaggerate human features. There are cases in which realistic depictions are shown in animation. Fantasia (1940) had segments that were outlandishly cartoon like to more traditional artistic presentation. Cohen then uses Moana’s parents to show how abnormal the body proportions are.  He explains in the following paragraph :

“His big toe has the same diameter as her wrist. His unflexed bicep is wider than her waist. (Sources say the voice actor for Maui has 20-inch biceps, while a real life-sized Barbie doll would have an 18-inch waist, compared with 31 inches for a typical 19-year-old woman.) Anyway, it’s ridiculous.”

The point is that the characters are suppose to look humorous or unusual. Large eyes, varying heights, weights, and general appearance makes a cartoon character memorable. Animators develop a style, which becomes their recognizable signature. Disney over the years had developed this model of large man and thin woman. The claim here is that body diversity is not present. That is not the case if one does through research. Maui and Moana’s dad are not the typical muscle man. Maui is large, but does not have the traditional male heroic physique. The author then tries to counter this fact by saying ” there are a lot of large bodied Polynesian people in societies.”Then claims it is not a sex specific pattern. Sexual dimorphism is present in every ethnic group around the world. It seems that he has some stereotypes about one group, while recognizing another common one.  He the later expounds : “If  the difference is in racial or ethnic context for the families, then maybe extreme dimorphism among parents helps signify the exoticism of the culture depicted.” If this is the case, then may be we should question whether or not this is borderline racist caricature. When Europeans colonized the islands they either depicted Polynesians as lazy, fat, exotic, or primitive in literature, film, or other media . The fact the author gets his data from wikipedia on obesity rates from the Polynesian islands seems to be a confirmation bias of a prejudice he could personally have.   That could be a more convincing argument. Cohen the realizes that black men are stereotyped as having superhuman bodies, but there are no tiny women tropes. That is not true. One notable trope relevant to discussion is the pint sized powerhouse. This could be a man or woman with large amounts of strength who just happens to be diminutive in size.  This trope appears in cartoons as well as film.

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A small woman trope as seen in Dragonball Z ( 1989-1996). Android 18 fights Tien despite her size.
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There are two stereotypes surrounding the Polynesians. The first is one of obesity and the other is the image of super human athlete.

Stereotypes appear in all media, but white men are least effected. Seeing as Phillip Cohen is white he has no understanding of this.  Which makes him less qualified to even discuss body image distortions in regards to women. He does not deny that sexual dimorphism is a fact, but cannot grasp the elements of animation. It takes features such as hands, noses, ears, and  body shapes and distorts them. Human being have to ability to change their bodies to extreme either through plastic surgery, exercise, make-up, or even sometime in the future genetic engineering. When men and women alter their bodies sex differences in size do not disappear.

 Men and women do alter their bodies to impressive degrees in some sports. The exercise and physical training in some regards makes sexual dimorphism more obvious. Men are on average taller and stronger than women. The basic Disney character design accentuates this more. The characters of Moana and Maui represent this unrealistic exaggeration. The point is to make the characters recognizable and unique in a particular style. There are some people in real life that resemble cartoon characters themselves.

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Maui is too endomorphic to be classified as being part of Herculean dimorphism.  It is a great development that a male antagonist is give a different body type.
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A woman and a man who developed their bodies to the highest level.  At first glance it would seem they both jumped out of a comic book.

The core of character design is to be outrageous in appearance. There is also a problem that arises from these depictions. Portraying women as only slim could induce body image issues in young girls. Women or girls who are muscular or larger could be made to feel ostracized or abnormal. There is a subtle form of sexism in this. It enforces a gender role that men are always more powerful and there fore should control women. These convictions can be challenged. Not only that, a repeated use of a particular character design can stifle creativity. Animation should be willing to experiment with different styles and designs. This creates an enriched and wonderful cartoon. Phillip Cohen refuses to see this in the perspective of an artist.

        The author presents small amounts of evidence. There does exist in Disney cartoons and others were the slim female body is not the model. It is not simply being a bit larger, but the presentation of a muscular and powerful body. This could be called amazonian dimorphism. This model has not appeared in Disney animated films, but more so series.Disney animated series such as Dave the Barbarian, Pepper Ann,  The Emperor’s New School , The Proud Family,  and Darkwing Duck .

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The Proud Family (2001-2005 )  features Penny Proud as a superhero in one episode.
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This is Candy from Dave the Barbarian (2004)
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Although it was just in the intro it depicted a strong woman in the show Pepper Ann (1997-2000).

One could make the guess that Disney in their TV series is more open to a different character design. Seeing as it is animation these transformations in TV programs can be either temporary or permanent. It would still be relevant to include both categories. The bodies shown on the characters deviate from the standard Disney depiction of women.If Phillip Cohen did his research of the Disney library of animation, he would see that his argument is not as potent. Then he mentions How to Train Your Dragon, when that is a Dreamworks film. If the focus is solely distorted body image models in Disney films, other media should not be mentioned. The reason he may do this is to show it is not solely a problem with Disney. However, if you continue to examine it further beyond Disney his argument then collapses. The occurrences of these muscular body types on women are rare in Disney animation, but more prevalent in others. The prevalence of comic books gives source material for animated series. Whether  it is Marvel or DC their characters have appeared in animated cartoons over the years.Characters such as Black Cat or She-Hulk would not fit the Disney Princess measurements.

Even cartoons that are comedy focused vary in body type representation occasionally.These also include one shot characters and recurring characters in animated series. Again, it should be noted that many of these representations function around tropes. This does not only occur in animation from the West, but other countries. If Phillip Cohen wanted to truly prove his point he would include animation from other nations . The West has a habit of thinking that it has a monopoly on all art forms. This ethnocentric worldview is not only prejudiced, but historically inaccurate. Many cultures have borrowed from one another and art is no exception. Japanese anime has become a global phenomenon having fans and devotees on every continent.

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Elle Ragu as she appears in Shadow Skill (1998)
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Jun Auska from  the Iron Virgin Jun OVA based on a one shot manga (1992).
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This is Genie from Rune Soldier Louie (2001)
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A one shot character as she appears in Yu-Ghi-Oh! GX (2004-2008) . She is Tania.

It seems amazonian dimorphism has a presence in animation across the globe. The evidence seems to not demonstrate that body representation is a limited as previously thought. The vast plethora of action, comedy, or adult animation series do vary in character design. This is a positive development, but also should continue. There also develops another problem of exchanging one model for another. There is a possibility that the amazonian dimorphic model could be another unrealistic standard pushed on young girls.This may not even happen seeing as appearance of women of various body types is rare. There is however gradual change. The human body has often been sexualized or racialized throughout history. Cohen admits that Black men have been stereotyped as superhuman. This is routed in the enslavement of African peoples in the Western hemisphere. The superhuman myth was designed to justify physical violence against the enslaved. Whipping or the mutilation of limbs was acceptable, because it was believed Black people could handle more pain than normal. When discussing Moana   and comparing the parents from Frozen  there is another stereotype that emerges. It shows the “civilized” European compared to the “savage” Polynesian. Either intentionally or unintentionally Disney continues the racist idea of the noble savage. Suddenly, one realizes that Phillip Cohen’s claim “I’m not sure how to interpret this” is disingenuous.

         This  fixation that some social justice advocates have on ignoring sex differences is rooted in the idea that a difference means that women are unequal. Sex differences in terms of biology are not the reason women have an unequal position in society. It is rooted in the lack of property, income, equal employment opportunities, and disparities in education. Also that lack of reproductive rights is a method to control women’s bodies. For a longtime throughout history women were considered property. It was thought that men’s greater physical strength was used to also control women. This is not a complete explanation, because access to weapons can negate this and the fact there are women who can be stronger than men.Control of laws and the economic system was more effective than brute force. Sexual dimorphism is not the culprit of inequality. Political, economic, and legal systems are. Most of these systems favor men over women and only recently are being challenged. Relevant to this discussion, it should not bother anyone that sexual dimorphism is depicted. However, there should be concern that their is not a variety of multiple body types depicted in animated subjects or films. It may influence how children think they should look and attempt to aim for an unrealistic standard. Besides this problem character design will become limited and unimaginative. Another issue is with the characters themselves. If one is  solicitous about female characters in animation, there should be questions asked. Why are there so few compared to male ones? Do they have developed personalities other than just being one dimensional stock characters such as the damsel in distress, mother, or girlfriend? These problems seem more urgent than actual appearance of the creation itself. Moana is a great character because they gave her some personality. This cannot be said of other Disney female characters of the classic era. The change really happened in The Little Mermaid   and Mulan  .  Those animated films had great examples of developed female characters. Only if the formula that Moana  has continues there can be effective change.

“My, what dimorphic parents you have!” From Family Inequality Blog

Female Muscle Growth (FMG)

Female muscle growth (FMG) refers to a fetish art genre, which involves women developing muscles and strength. It can extended beyond just art renditions, but can be displayed in other forms of entertainment in television, movies, and printed materials. It is difficult to determine just when this genre of fetish art emerged. It is possible it has links to the rise of session wrestling among female bodybuilding circles. The people involved in this element of the subculture seemed to develop a creative and obvious erotic need to create these artworks. Some themes are common to the atmosphere. The female muscle growth stories either feature mixed wrestling, strength feats, and powerful women with enormous muscles. The only time this art could be seen was in special interest magazines or some underground female bodybuilding magazines. The rise of the internet created a boom in the development and prevalence of this female muscle growth and art. It can easily be accessed by websites and search engines. Although thought to be erotic solely, that is not always the case. FMG  can happen in mainstream entertainment, without being specifically lascivious. There are some clues from the past to the origin of this art form born out of cartolagnia and sthenolagnia.

          Orrin Jesse Heller was a photographer in the 20th century. He had a love of the female athlete and muscular women in particular. As a child he witnessed a  carnival act involving a strong woman performing feats of strength. Heller then proceeded to collect and produce photos of women athletes and muscular women from the 1930s and 1980s. Decades he collected also film which he shot which included Pudgy Stockton and Relma Brewer. Heller was in a way a historian of female muscle and strength prior to the rise of modern female bodybuilding. Based in the United States Heller went to circuses, vaudeville houses,  and professional wrestling events to film and photograph strong women. He not only collected images of real life figures, but cartoons from comics and other printed materials. While comic book characters such as Wonder Woman and Batman are immortalized in pop culture  other cartoon characters become part of history.

A comic series known as Crimes of Women  ran in the 1940s. It featured female criminals fighting cops and law men in a standard comic book tradition. A one shot character known as Madame Muscle mad an appearance in 1949 and her physique resembles that of Pudgy Stockton. Hardly remembered today, accept by hard core comic book fans this is a rare example of a woman displaying a powerful physique. This comic and character is part of the Heller collection, which is on LH-Art. This cannot be described as female muscle growth, but it at least has the appearance of a muscular woman. Heller’s collection does reveal that the muscular woman at least in comic book format and in real life is not a recent phenomenon. There was also another comic book character known as Daffy. She only appeared in the 1940s as well and was a circus strong woman who used her strength to defeat criminals. The character appeared in Smash Comics and had a strong looking physique.

 The decade also saw the appearance of Wonder Woman, a character that has lasted since 1941. While she was not depicted as muscular as these lesser known characters, her strength feats and fights were predominantly featured. She possesses super human strength and trained as a warrior. The fascinating part of these few characters is that they could be harbingers to female muscle growth. Although there is no depiction of growth occurring in these comics, it can be considered early female muscle art.

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Heller’s collection provides some clue to the emergence of this art genre that would later evolve into something more expansive. These materials are works of fiction, but maybe it was based of of certain people that artists saw. Many think that the muscular woman is a new phenomenon, but as we can see from the collection they have been around for a while. Today, they are more visible and the art depicting them is becoming visible as well.

          It becomes increasingly obvious that there would not be female muscle growth and female muscle art without the rise of women’s bodybuilding and fitness. It was the 1970s that saw the rise of modern women’s bodybuilding. There had been muscular women present, but they never had an outlet to present their impressive bodies and athletic talents. From 1979  to the present categories expanded to include fitness, figure, bikini  and physique. Each has a varying degree of muscular development and fitness. Fans formed a subculture around the sport. It is known there is a schmoe culture that involves sessions, photo shoots,  and signed memorabilia. This produced an artistic dimension with female muscle growth. Fans with the love of drawing and art began producing comics in female bodybuilding magazines. A majority of the time these would be written stories about muscular women written by fans, that contained illustrations.

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These artistic depictions were just another way of fans showing their appreciation for the muscular female aesthetic. This art was not mainstream considering it was circulated only among the subculture. As personal computers became more widely available, this provided more exposure. The establishment of websites, blogs, forums, and chat rooms  also fans to connect with one another and share their art. During the 1980s female muscle art was circulated through magazines. At the end of the 20th century it could found easily on the internet. Athletes and fans used the internet to keep the sport alive, even  when corporate gatekeepers were losing interest. The 2000s saw a decline in women’s fitness sport, but it seems as if there is a slight revival from the physique division and more websites featuring athletes. Some of the art does not solely just depict muscle growth, but mixed wrestling. This topic reappears in female muscle art and female muscle growth. It is clear it has an innuendo based on  fetishes of cartolagnia and sthenolagnia. Feats of strength and muscle induce arousal in men and that is an element of female muscle art.

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It seems that these visual materials also are a record of the subculture. Similar to how paleolithic humanity produced cave paintings, they describe activity without words. If written material were to be destroyed in some form of civilization collapse, art would probably be the only clue that the sport existed. May be when civilization collapses in the distant future, this could be left to archaeologists to examine a small sport. The appearance of female muscle growth is directly interconnected to the rise of female bodybuilding.

       Female muscle growth has distinct attributes. The story lines usually follow  a similar pattern. It features a woman either of average build or physically weak either being transformed by scientific, magical, or other means. The woman can either be an antagonist or a protagonist  in the story. Most of the time the story depicts a woman using her new found physical power against a man whether she is an antagonist or a protagonist . There are also instances in which the cast of characters is all female and women are fighting one another. There are other cases in which muscle growth can happen the regular way : depicting a woman lifting weights. The stories do not contain complex plots, but depending on the artist they do go into some detail.

268a7986e4ca134fbc4588f3e934019f  David C. Matthews a well known figure in the female muscle art genre produces comics online that are primarily FMG. His comics are not brief panels, but continuing stories. They are designed in the traditional format of a standard comic book. His characters Dyna the Damsel Dynamo and Tetsuko  are his mots popular creations. Matthews’ other ones are still notable and he continues to update though comics as well. His Satin Steel comic is unique because now it focuses on a female bodybuilder going through the challenge of competition. Before, the character went on more outrageous adventures in the same vain as the obscure Daffy character from Smash Comics. These comics and stories are more intricate.

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This is an example of a more simple FMG story.
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Unlike the example above women in these stories get their super human strength from other means.

The art styles can vary as well. The depictions of women are either more cartoon like or more realistic in terms of body depiction. The decision is really that of the artist on how large he wants to depict a muscular woman. Renditions can range from a standard athletic physique to a muscular one far beyond human physiological capability. The reason muscles do not increase in size exponentially is because myostatin regulates muscular hypertrophy. Human Incredible Hulks do not exist for that reason, but in this art form characters are not bound by biology or physics. Characters can be so muscular that they become giants. There is also the giantess genre which overlaps with female muscle growth . Artists sometimes combine the two in their works and stories. However, the two are not the same in terms of definition and content. Just like trying to distinguish the difference between mixed and session wrestling, there are specific elements that do not make female muscle growth the same as female muscle art.

             Female muscle growth depicts a genre of fetish art. Female muscle art is more expansive in the sense it just presents the muscular female form in an drawn, painted, or CGI format. Female muscle growth can fall under this classification, but in a more specific manner related to the subculture of female bodybuilding fans. The range of female muscle art focuses on cartoon characters and real life individuals. Popular subjects can be fan art of comic book and cartoon characters.

  The comic book characters that are favorite subjects for art usually tend to be Wonder Woman, She-Hulk, and Power Girl. Usually these characters are depicted as athletic looking in their comic books, so this should be no surprise in this genre of underground art. Computer generated imagery has had a massive impact on special effects and all forms of technology. The influence can even be seen in female muscle art. When personal computers became more common in the 1990s this was a launching point. As polygon subdivision software became more advanced artists could produce another form of art.

 The CGI can be so close to looking real it is amazing. Video game consoles like Playstation 4  and Xbox continue to use CGI and computer graphics to produce wonderful games. Female muscle artists also use various programs to make art of athletic women. Cartoon characters that are displayed can be from any genre either action or comedy. Artists give their favorite female characters muscles that they may not even have in the shows they watch.

 Female characters  who could be from any genre of animation ( comedy, action, or adult animation) are given a muscular physique in fan art. Some even make references to particular episodes in which a female character becomes muscular. These one shot episodes of a series have a special place for fans of muscular women. Marge Simpson has even been a subject for female muscle growth art. Simpsons fans and fans of female muscle have over the years produced tons of fan art. Lois Griffin even appears with muscle on some fan art sites.

Deviantart. com is a website that has been around since 2000. Various artists both professional and amateur present their work. It has allowed for a community who enjoy female muscle growth and artwork  to connect with one another. Thousands of works and artists have emerged. These works can either be female muscle growth or just depictions of muscular women. The distinctions can be blurred or ambiguous.

            Every artist has a motivation when producing art. The motivation that is present here is the desire to present the muscular female frame as one form of beauty. The classical art works and the renaissance that resurrected the style had versions of body ideals. Statues of men were either depicted as muscular, while the female form in art was shown as softer and more voluptuous. The female athletic form was never really depicted. Michelangelo was known to depict women with muscular women in his works. Scholars have theorized that the reason women appeared really muscular in the works is because male models were used. This was because it was difficult to get women to pose nude for artworks. However, it may not be so far fetched that muscular women were present and could have been used as models. This seems speculative or unlikely. Some make the claim the women depicted Michelangelo’s sculptures and paintings are “masculine.” It could be that he was presenting a new body ideal of beauty in regards to the female form. The idea that these are “men with breasts” may just be modern day scholars projecting gender norm conformity. Many people cannot accept that women can be strong or have muscle. The Michelangelo “masculine woman” theory seems to have sexist overtones.

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It could be that Michelangelo was thinking about muscular women as one model of female beauty. The traditional female model appears also in his works. Normally, they were slender and small in frame. The fact they one does not predominate shows he may have like to display different types of people to distinguish himself from his contemporaries. His motivation could be he loved the aesthetic of the muscular human form. Liking a style or form is part of what motivates artists to produce this type of work. This explains some experimentation in modern art with different uses of material and presentation.

As many observers have shown art can be a depiction of life or an exaggeration of it. Cartoons are the extreme part of exaggeration in terms of design. The motive with female muscle art is displaying a new paradigm of beauty.

         This is an unexplored area of investigation. What can be gathered from little evidence is that this genre of art and female muscle growth originated from earlier sources. It as hypothesized could have branched out from earlier comics. The athletic figures that appear in this media may have been an inspiration. There is little evidence that muscular women appear in artworks with the exception of Michelangelo. Women with muscular bodies have existed, but it is a modern phenomenon that some want to develop it to the maximum. Women are now participating in most sports. The muscular woman has become more visible. The female bodybuilding subculture can be documented through these artworks. Female muscle growth is not mainstream, because it is a fetish genre. It appeals to men who love the appearance of a muscular or strong woman. The rise of the internet saw an immense expansion of it. There is an erotic element to art. cratolagnia and sthenolgania are the reasons for the appearance in FMG. As women’s participation in athletic activities and strength training increase it may come a time when its not seen as bizarre by the general public.

Female Muscle Growth (FMG)