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What is the “male gaze” and how to avoid it in our comics?

In the fascinating world of sequential art, female characters have come a long way from being mere visual ornaments to becoming complex protagonists with their own stories. However, a shadow persists that has marked the representation of women in comics: the so-called “male gaze.” This phenomenon, which extends beyond panels and reaches all visual media, determines how female bodies are constructed and represented, their attitudes, and their narrative relevance.

In this journey, we will explore the origins of this concept, analyze historical and contemporary examples, and discover how some revolutionary works are reimagining female representation in the comic world. More importantly, we will reflect on how we, as artists and illustrators, can create works that break with these limiting stereotypes and build a more inclusive and authentic visual universe.

The male gaze: a lens that distorts

One of the notions that is revolutionizing artistic representations today is the so-called “male gaze.” For decades, this perspective has dominated as the hegemonic form of representation in visual works, defining a particular way of expressing the corporality and behavior of femininity. This way of portraying women is not innocent: it promotes the perpetuation of stereotypes and stigmatization in their attributed gender roles. The root of the problem lies in presenting women not from their own subjectivities, but generally from objectification and sexualization, responding to a patriarchal system deeply rooted in our visual culture.

It was Laura Mulvey who coined this term in 1973 when analyzing audiovisual productions in her revolutionary essay “Visual Pleasure and Narrative Cinema.” In this seminal text, Mulvey argued that women are often shown as objects of desire and pleasure, or as simple functions in a work’s narrative, always from the point of view of the male artists who conceive them. This gaze not only affects physical representation but determines the narrative development and psychological depth these characters are allowed to have.

Illustration and comics, being visual media par excellence, have been particularly fertile grounds for the proliferation of this gaze. The lines, framing, poses, and clothing of female characters have historically been determined by what is visually pleasing for a presumably male and heterosexual audience. Interested in perfecting your illustrations with a more balanced perspective? Discover resources and techniques here. This dynamic has created a visual language so normalized that it often goes unnoticed even for readers and artists who would not consciously identify with this vision.

The Bechdel Test: a thermometer for female representation

To evaluate the gender gap in artistic productions, it’s common to use the “Bechdel Test,” first mentioned in “Dykes to Watch Out For” by Alison Bechdel in 1985. This simple but effective method has become a fundamental tool for analyzing female representation in various media, including comics.

The rule is simple but revealing: to pass the test, a work must feature at least two female characters who have a conversation about something other than a man. This premise, which seems basic and easy to fulfill, is surprisingly difficult to find in many mainstream cultural productions.

A study conducted on films nominated for Best Picture at the Academy Awards between 2000 and 2016 revealed an alarming statistic: 45% of the 108 films analyzed did not pass this test. This means that almost half of the most acclaimed film productions of recent decades don’t even present two female characters talking about something other than a man.

Applied to the world of comics, the Bechdel Test invites us to reflect on how many of our favorite comic books meet this minimal criterion. Even in extensive sagas with multiple female characters, it’s surprising how rarely they interact with each other in meaningful ways without their conversation revolving around a male character.

This absence of genuine interactions between female characters responds to a vision that doesn’t build identification for the female audience, but instead imposes characteristics that women “should” have to spark the interest of the opposite gender: being young, pretty, thin, and, in many cases, submissive or subordinate to the main male plot.

Of panels and framing: impossible anatomy in comics

In the visual language of comics, the “male gaze” materializes not only in the narrative but in the physical representation of female characters. The visual resources employed to emphasize certain physical attributes have become a language of their own within the medium. The close-ups that are frequently made of female bodies respond to cropping according to their physical attributes, transforming characters into visual fragments for visual consumption.

A similar phenomenon can be observed in slasher genre cinema, where the first women attacked have scenes trying to escape from the killer in circumstances that may make them cry or scream, but never lose their beauty, because they must meet the aesthetic expectations of the audience. This dynamic is transferred to comics with particular intensity due to the static and intensely visual nature of the medium.

Impossible foreshortening, anatomically unviable postures, and clothing that seems painted on the body have been normalized as conventions of the medium, especially in genres like superheroes. These visual elements are not neutral: they build an expectation for both readers and artists about what constitutes an “appropriate representation” of female bodies.

The impossible anatomy of many female characters in comics configures an unattainable standard that is presented as the norm. Breasts that defy gravity, extremely narrow waists, and postures that simultaneously show the chest and buttocks (the famous “broken spine pose”) are elements so ingrained in the visual language of comics that they often go unnoticed. However, these representations have a real impact on the perception of bodies and on the self-esteem of readers.

Mary Jane Watson: the archetype of the “male gaze” in superhero comics

In comic representations, the “male gaze” has found particularly fertile ground in superhero narratives. An emblematic case is that of Mary Jane Watson, initially introduced as the romantic interest of Peter Parker, our friendly neighborhood Spider-Man.

The panels we can observe below are from issue 42 of “The Amazing Spider-Man,” written by Stan Lee and John Romita, and published in 1963. This sequence represents Mary Jane’s first appearance in Peter Parker’s life, constituting her introduction as a character both within the narrative and the spider universe.

First appearance of Mary Jane Watson in Amazing Spider-Man #42

This classic Mary Jane sequence fulfills all the canonical requirements of the “male gaze.” In the first panel on the left, Peter’s face appears blushing and surrounded by graphic indicators of surprise. His dialogue bubble expresses a calculated naivety: “it can’t be that a woman like this exists.” In the next frame, we observe him with a stunned expression and half-open mouth, gestures reinforced by his gaze clearly directed at the woman’s breasts. This reaction is not casual: Peter’s gaze functions as a substitute and guide for the expected gaze from readers.

For her part, Mary Jane is presented through a series of carefully selected visual attributes: slim but voluptuous figure, tight clothing, fine fingers, penetrating gaze, and red lips matching her hair. The visual composition is designed for her to be perceived as a prize, an object of desire. Her famous phrase “Face it, tiger… you just hit the jackpot!” reinforces this idea: being with a woman like this is presented as getting a trophy to exhibit before other men. The phrase also connotes a clear intention of seduction that facilitates objectification and sexualization by the readership.

This treatment of the female character is particularly revealing if we consider that it is her first appearance. We are not introduced to who Mary Jane is as a person, what her interests or aspirations are; we are fundamentally shown how she looks and how Peter (and by extension, how we should) reacts to her physical appearance.

The “male gaze” here not only stereotypes but also establishes the expected beauty parameters for women in the narrative universe. Mary Jane becomes not only an object of desire but also an aspirational model. This double effect can be particularly harmful to the female audience, as it presents an idealized corporality as normative, generating aesthetic pressures and establishing competition for male attention as a central value.

From the 60s to the 21st century: the persistence of the male gaze

We might think that the representation of Mary Jane is simply a symptom of the era in which she was created, a reflection of the values of the 1960s. However, decades later, this perspective remains prevalent in numerous contemporary comics, demonstrating the persistence of these visual and narrative conventions.

An illustrative example is the case of Atom Eve, a female character from “Invincible,” a series created by Robert Kirkman and Cory Walker that began publishing in 2003. Despite being a 21st-century work featuring a powerful superheroine, Atom Eve does not escape the conventions of the “male gaze.”

Representation of Atom Eve in Invincible

When examining this page, it becomes evident which elements are being visually prioritized. Atom Eve appears in an anatomically improbable position: with her back to us but simultaneously turned so we can perfectly observe the profile of her breasts. Her suit, tight and revealing, highlights her physical attributes despite the danger of the situations she usually faces in the story. The “S” posture she adopts, artificially stylizing her figure, would be physically impossible to maintain in real life without serious consequences for the spine.

What makes this example particularly significant is that it is a relatively recent work, created in a context where there was already an awareness and debate about these forms of representation. This demonstrates how deeply internalized these visual conventions are, to the point that we often don’t question them when we consume or reproduce them in our own creations. Want to develop drawing styles that break with these stereotypes? Explore new creative possibilities here.

It’s worth noting that what’s problematic is not necessarily the sensuality or attractiveness of the characters, but the inequality in how female and male bodies are represented, and how these representations reflect and reinforce broader power dynamics. While male characters tend to be represented in postures that denote power, action, and agency, women often appear in poses that prioritize the display of their physical attributes above their participation in the narrative action.

Beyond aesthetics: social and narrative implications

What underlies the “male gaze” transcends the purely visual; it has to do with a way of seeing and understanding women as social subjects. This stigmatization has generated that, for a long time, the reproduction of these same characters and functions is expected in mainstream works, creating a cycle of expectations and representations that reinforce each other.

This dynamic not only has political implications in relation to which audience we address, but also significantly impoverishes our creative products. By using crystallized figures and predefined roles over and over again, we are limiting our capacity for innovation and narrative originality. Stereotyped female characters are not only problematic from a representation perspective, but also predictable and flat from a purely narrative point of view.

To adapt to new demographics and enrich our stories, we must consider who the people reading us really are. Among them are a growing number of girls and women who do not feel identified or addressed by comics that, consciously or unconsciously, are conceived by men and for men.

Beyond commercial considerations, there is the ethical responsibility of creators. Visual representations are not innocuous: they build imaginaries, reinforce or question stereotypes, and can influence how people perceive themselves and others. Creating three-dimensional female characters, with their own agency and diverse bodily representations, is not just a matter of political correctness, but an opportunity to expand our creative horizon and connect with a broader and more diverse audience.

Towards a new gaze: the emergence of the “female gaze”

Thanks to advances in debates on gender equality, the “male gaze” has been increasingly studied, criticized, and revised in multiple artistic fields. In response, productions have emerged that consciously avoid this traditional perspective, claiming a gaze that is more inclusive of the female audience and non-binary identities.

This alternative proposal, known as “female gaze,” is not simply limited to inverting roles and objectifying male characters. On the contrary, it seeks to grant agency to female characters so that they cannot be reduced to their physical qualities or to the submission and passivity characteristic of the traditional current.

The “female gaze” contributes to highlighting qualities that do not necessarily have to do with sexualization and objectification for another, but for the character’s own expression. These characters can be women with power, strong personalities, diverse bodies (hegemonic or not), with explicit sexual desire or without it, which allows them to have more dimensions and generate more developed and complex stories.

It’s important to clarify that the “female gaze” does not imply the absence of sensuality or physical attraction, but a change in how these elements are presented and contextualized. Sexuality and attractiveness can be present, but as expressions of the character’s agency and not as their defining characteristic or as a spectacle for the external gaze. Enhance your ability to create characters with depth and authenticity by accessing specialized resources here.

Some common characteristics of the “female gaze” in comics include:

  • Female characters who take the initiative in the plot
  • Diverse and realistic bodily representations
  • Functional clothing consistent with the character’s personality and activities
  • Natural poses that prioritize emotional expression and action over physical exhibition
  • Complex relationships between female characters (friendship, rivalry, mentorship, etc.) independent of male characters
  • Romantic or sexual scenes that show female desire and pleasure as active, not as passive responses

Saga: a brilliant example of the “female gaze” in action

One of the most acclaimed comics in recent years is “Saga,” winner of three Eisner Awards and a Hugo. This fascinating space opera created by Brian K. Vaughan and illustrated by Fiona Staples represents an excellent case study on how to effectively and artistically implement the “female gaze.”

The plot follows Alana and Marko, beings from two different races at war who fall in love, have a daughter, and must flee through space from those who intend to hunt them down. Despite including a considerable dose of romance and sexual scenes, the way of representing them differs radically from what we have analyzed previously.

A first distinctive element is the narrative voice: the story is narrated by Hazel, the daughter of the protagonist couple, who from the future tells us about the adventures and feats of her parents. This narrative decision already establishes a different perspective, a gaze that humanizes the characters and prioritizes family and affective bonds over the exhibition of bodies.

Family kiss scene in Saga

In this panel that occupies a full page, we can appreciate a kiss between Alana and Marko occupying the center of the composition. Unlike what we would see in a work dominated by the “male gaze,” there are no strange positions here that deform the female body to highlight certain physical attributes. Instead, our characters embrace with their daughter, creating a joint plane that expresses family unity and genuine affection.

This scene does not seek to awaken sexual desire in the viewer, but to represent an intimate moment of love between complex individuals with a shared history. This intention is reinforced with a subtle but effective visual resource: in the background, red-eyed beasts threatening the family can be distinguished, but from this particular framing they resemble butterflies or hearts, traditional symbols of romance, generating a visual ambiguity that enriches the reading.

Another notable aspect in “Saga” is the treatment of bodies and clothing. Although the protagonists could be considered physically attractive by conventional standards, their bodies are not hypersexualized or gratuitously exhibited. The clothes they wear respond to practical needs within the narrative universe and are not primarily designed to highlight physical attributes.

Romantic approach sequence in Saga

The composition of this page masterfully exemplifies the essence of the “female gaze.” Let’s observe how the bodies of Alana and Marko progressively approach each other from one panel to another, with frames that gradually close until showing us close-ups of great emotional intensity. Most significantly, the characters look directly into each other’s eyes, establishing an intimate connection that transcends the purely physical.

The kiss that culminates the sequence occupies a prominent place, expressing more romanticism and emotional complicity than explicit sexual desire, although romantic tension has been building narratively since much earlier in the story. This graduality and emotional context are fundamental characteristics of the “female gaze”: desire does not arise as an instantaneous reaction to the exhibition of a body, but as the culmination of an emotional connection developed over time.

“Saga” demonstrates that it is possible to create a visually impactful work, with explicit romantic and sexual relationships, without falling into the limiting tropes of the “male gaze.” The commercial and critical success of the series also proves that this approach is not only ethically more inclusive, but also commercially viable and artistically enriching. Discover how to create visually impactful and emotionally deep narrative sequences here.

Reimagining classic characters: when revision enriches

An interesting phenomenon in the evolution of contemporary comics is the reinterpretation of classic female characters originally conceived under the “male gaze.” These revisions not only update the visual aesthetics but frequently delve into the psychology and motivations of these characters, giving them dimensions that were originally denied to them.

Take for example the evolution of characters like Wonder Woman, who has transitioned from her first appearances with revealing outfits and suggestive poses, towards more balanced representations where her strength, leadership, and intellect take center stage. Modern interpretations of Wonder Woman tend to show her with functional armor for combat and in dynamic poses that emphasize her power and determination, not her sexual attractiveness.

Another notable case is that of characters like Barbara Gordon/Batgirl or Carol Danvers/Captain Marvel, who have evolved from secondary roles or hypersexualized suits towards representations where their intelligence, strategic capacity, and leadership are central. Their current uniforms tend to be more practical and consistent with their activities, and their stories explore personal and professional dimensions beyond their romantic relationships.

Even Mary Jane Watson, the example we analyzed earlier, has received more complex reinterpretations in some modern series, where her career as an actress, her personal ambitions, and her relationship with Peter Parker are explored from a more balanced and mature perspective.

These evolutions do not imply denying the sexuality or attractiveness of the characters, but contextualizing them within complex and multidimensional personalities. Beauty or physical attractiveness can still be attributes of the character, but they are no longer their defining characteristic or the center of their visual representation.

The valuable thing about these reinterpretations is that they demonstrate that characters do not lose interest or popularity when treated with greater depth; on the contrary, they often gain followers who appreciate these new narrative dimensions. This confirms that the contemporary audience is increasingly receptive to complex and diverse female representations, not limited by the traditional tropes of the “male gaze”.

Practical tools for illustrators: beyond theory

Once the theoretical concepts are understood, the practical question arises: how can we apply this knowledge in our creative work? Below, we present some concrete tools and considerations for illustrators and comic artists who wish to create works with more balanced and authentic representations.

A fundamental first step is to develop the ability to recognize the “male gaze” in our own work. This implies a critical review of our drawing habits, asking ourselves if we are resorting to conventionalisms that objectify female characters. Do we draw women in impossible poses to simultaneously highlight breasts and buttocks? Are their outfits functional and consistent with their personalities and activities? Are male reactions to their presence unnecessarily sexualized? Delve into advanced techniques for creating memorable characters beyond stereotypes here.

Body diversity is another fundamental aspect to consider. The real world is populated by people with an infinite variety of body types, skin tones, ages, and physical characteristics. Reflecting this diversity in our illustrations is not only more representative of reality, but also visually enriches our works and allows a broader audience to identify with our characters.

Regarding poses and body expression, it is useful to ask: is this posture physically and emotionally consistent with what the character is experiencing at this moment? Or is it primarily designed for visual display? Poses that prioritize emotional expressiveness and narrative action tend to be more dynamic and interesting than those that only seek to highlight physical attributes.

As for clothing, considering functionality and coherence with the character can guide more accurate decisions. A character who regularly fights will need clothing that allows movement and offers protection. A professional in a specific work environment will use outfits according to that context. These elements can still be aesthetically attractive and distinctive without falling into gratuitous hypersexualization.

Finally, balance in the framing and shots used is crucial. Evaluating if we are resorting excessively to close-ups of certain parts of the female body without narrative justification can reveal unconscious biases in our way of constructing the visual sequence.

Let’s narrate with a renewed gaze!

Throughout this journey, we have explored the implementation, harms, and restrictions of the “male gaze,” both from the point of view of reception and from the artistic perspective. The conclusion is clear: opening our creative horizon to more diverse and inclusive forms of representation is not only an ethical responsibility, but also an opportunity to enrich our works and connect with a broader and more diverse audience.

We can conclude that it is advisable to propose alternatives to the traditional gaze to expand our demographics and demonstrate our ability to update the language of comics. The world of comics is constantly evolving, and new generations of readers and creators are driving significant changes in how female characters and gender relations are represented.

This process does not imply renouncing beauty, sensuality, or romance in our stories, but enriching them with greater psychological depth, diversity of representations, and respect for the integrity of all our characters, regardless of their gender. Ready to take your narrative and illustrative skills to the next level? Find inspiration and practical resources here.

To conclude, we offer some key questions that can serve as a guide to create works that propose innovations and integrations when representing and narrating:

  • Who will my female characters be and what will be their psychological complexity beyond their appearance?
  • What will their roles be in my story? Do they have their own agency and motivations that transcend male characters?
  • What will their first appearance be like and what aspects of their personality, not just their physique, do I want to initially highlight?
  • What will they talk about with other characters, especially with other female characters?
  • What strengths and weaknesses will they have that don’t repeat stereotypes and stigmatizations?
  • How will I show them visually in a way that respects their integrity as complete characters?
  • How will male characters react when seeing them, beyond attraction or rejection based on appearance?
  • How will I represent their bodies and in what poses will I place them so that they express their essence and are not unnecessarily exposed?
  • What clothing will they use that is consistent with their personality and activities, avoiding gratuitous objectification?
  • If a situation of sexual tension arises, how will I illustrate it so that both parties are active participants and it doesn’t reproduce the conqueror/conquered binary?

These questions do not seek to limit creativity but to expand it, inviting us to explore narrative and visual territories that we may not have considered before. The diversification of gazes and perspectives can only enrich our medium and make it more relevant to the contemporary world.

With these reflections as a starting point for creation and illustration, discover tools and resources that will inspire you to create genuine and authentic characters. It’s your turn to narrate with a renewed, conscious, and enriching gaze.

Join us

What is the “male gaze” and how to avoid it in our comics?

In the fascinating world of sequential art, female characters have come a long way from being mere visual ornaments to becoming complex protagonists with their own stories. However, a shadow persists that has marked the representation of women in comics: the so-called “male gaze.” This phenomenon, which extends beyond panels and reaches all visual media, determines how female bodies are constructed and represented, their attitudes, and their narrative relevance.

In this journey, we will explore the origins of this concept, analyze historical and contemporary examples, and discover how some revolutionary works are reimagining female representation in the comic world. More importantly, we will reflect on how we, as artists and illustrators, can create works that break with these limiting stereotypes and build a more inclusive and authentic visual universe.

The male gaze: a lens that distorts

One of the notions that is revolutionizing artistic representations today is the so-called “male gaze.” For decades, this perspective has dominated as the hegemonic form of representation in visual works, defining a particular way of expressing the corporality and behavior of femininity. This way of portraying women is not innocent: it promotes the perpetuation of stereotypes and stigmatization in their attributed gender roles. The root of the problem lies in presenting women not from their own subjectivities, but generally from objectification and sexualization, responding to a patriarchal system deeply rooted in our visual culture.

It was Laura Mulvey who coined this term in 1973 when analyzing audiovisual productions in her revolutionary essay “Visual Pleasure and Narrative Cinema.” In this seminal text, Mulvey argued that women are often shown as objects of desire and pleasure, or as simple functions in a work’s narrative, always from the point of view of the male artists who conceive them. This gaze not only affects physical representation but determines the narrative development and psychological depth these characters are allowed to have.

Illustration and comics, being visual media par excellence, have been particularly fertile grounds for the proliferation of this gaze. The lines, framing, poses, and clothing of female characters have historically been determined by what is visually pleasing for a presumably male and heterosexual audience. Interested in perfecting your illustrations with a more balanced perspective? Discover resources and techniques here. This dynamic has created a visual language so normalized that it often goes unnoticed even for readers and artists who would not consciously identify with this vision.

The Bechdel Test: a thermometer for female representation

To evaluate the gender gap in artistic productions, it’s common to use the “Bechdel Test,” first mentioned in “Dykes to Watch Out For” by Alison Bechdel in 1985. This simple but effective method has become a fundamental tool for analyzing female representation in various media, including comics.

The rule is simple but revealing: to pass the test, a work must feature at least two female characters who have a conversation about something other than a man. This premise, which seems basic and easy to fulfill, is surprisingly difficult to find in many mainstream cultural productions.

A study conducted on films nominated for Best Picture at the Academy Awards between 2000 and 2016 revealed an alarming statistic: 45% of the 108 films analyzed did not pass this test. This means that almost half of the most acclaimed film productions of recent decades don’t even present two female characters talking about something other than a man.

Applied to the world of comics, the Bechdel Test invites us to reflect on how many of our favorite comic books meet this minimal criterion. Even in extensive sagas with multiple female characters, it’s surprising how rarely they interact with each other in meaningful ways without their conversation revolving around a male character.

This absence of genuine interactions between female characters responds to a vision that doesn’t build identification for the female audience, but instead imposes characteristics that women “should” have to spark the interest of the opposite gender: being young, pretty, thin, and, in many cases, submissive or subordinate to the main male plot.

Of panels and framing: impossible anatomy in comics

In the visual language of comics, the “male gaze” materializes not only in the narrative but in the physical representation of female characters. The visual resources employed to emphasize certain physical attributes have become a language of their own within the medium. The close-ups that are frequently made of female bodies respond to cropping according to their physical attributes, transforming characters into visual fragments for visual consumption.

A similar phenomenon can be observed in slasher genre cinema, where the first women attacked have scenes trying to escape from the killer in circumstances that may make them cry or scream, but never lose their beauty, because they must meet the aesthetic expectations of the audience. This dynamic is transferred to comics with particular intensity due to the static and intensely visual nature of the medium.

Impossible foreshortening, anatomically unviable postures, and clothing that seems painted on the body have been normalized as conventions of the medium, especially in genres like superheroes. These visual elements are not neutral: they build an expectation for both readers and artists about what constitutes an “appropriate representation” of female bodies.

The impossible anatomy of many female characters in comics configures an unattainable standard that is presented as the norm. Breasts that defy gravity, extremely narrow waists, and postures that simultaneously show the chest and buttocks (the famous “broken spine pose”) are elements so ingrained in the visual language of comics that they often go unnoticed. However, these representations have a real impact on the perception of bodies and on the self-esteem of readers.

Mary Jane Watson: the archetype of the “male gaze” in superhero comics

In comic representations, the “male gaze” has found particularly fertile ground in superhero narratives. An emblematic case is that of Mary Jane Watson, initially introduced as the romantic interest of Peter Parker, our friendly neighborhood Spider-Man.

The panels we can observe below are from issue 42 of “The Amazing Spider-Man,” written by Stan Lee and John Romita, and published in 1963. This sequence represents Mary Jane’s first appearance in Peter Parker’s life, constituting her introduction as a character both within the narrative and the spider universe.

First appearance of Mary Jane Watson in Amazing Spider-Man #42

This classic Mary Jane sequence fulfills all the canonical requirements of the “male gaze.” In the first panel on the left, Peter’s face appears blushing and surrounded by graphic indicators of surprise. His dialogue bubble expresses a calculated naivety: “it can’t be that a woman like this exists.” In the next frame, we observe him with a stunned expression and half-open mouth, gestures reinforced by his gaze clearly directed at the woman’s breasts. This reaction is not casual: Peter’s gaze functions as a substitute and guide for the expected gaze from readers.

For her part, Mary Jane is presented through a series of carefully selected visual attributes: slim but voluptuous figure, tight clothing, fine fingers, penetrating gaze, and red lips matching her hair. The visual composition is designed for her to be perceived as a prize, an object of desire. Her famous phrase “Face it, tiger… you just hit the jackpot!” reinforces this idea: being with a woman like this is presented as getting a trophy to exhibit before other men. The phrase also connotes a clear intention of seduction that facilitates objectification and sexualization by the readership.

This treatment of the female character is particularly revealing if we consider that it is her first appearance. We are not introduced to who Mary Jane is as a person, what her interests or aspirations are; we are fundamentally shown how she looks and how Peter (and by extension, how we should) reacts to her physical appearance.

The “male gaze” here not only stereotypes but also establishes the expected beauty parameters for women in the narrative universe. Mary Jane becomes not only an object of desire but also an aspirational model. This double effect can be particularly harmful to the female audience, as it presents an idealized corporality as normative, generating aesthetic pressures and establishing competition for male attention as a central value.

From the 60s to the 21st century: the persistence of the male gaze

We might think that the representation of Mary Jane is simply a symptom of the era in which she was created, a reflection of the values of the 1960s. However, decades later, this perspective remains prevalent in numerous contemporary comics, demonstrating the persistence of these visual and narrative conventions.

An illustrative example is the case of Atom Eve, a female character from “Invincible,” a series created by Robert Kirkman and Cory Walker that began publishing in 2003. Despite being a 21st-century work featuring a powerful superheroine, Atom Eve does not escape the conventions of the “male gaze.”

Representation of Atom Eve in Invincible

When examining this page, it becomes evident which elements are being visually prioritized. Atom Eve appears in an anatomically improbable position: with her back to us but simultaneously turned so we can perfectly observe the profile of her breasts. Her suit, tight and revealing, highlights her physical attributes despite the danger of the situations she usually faces in the story. The “S” posture she adopts, artificially stylizing her figure, would be physically impossible to maintain in real life without serious consequences for the spine.

What makes this example particularly significant is that it is a relatively recent work, created in a context where there was already an awareness and debate about these forms of representation. This demonstrates how deeply internalized these visual conventions are, to the point that we often don’t question them when we consume or reproduce them in our own creations. Want to develop drawing styles that break with these stereotypes? Explore new creative possibilities here.

It’s worth noting that what’s problematic is not necessarily the sensuality or attractiveness of the characters, but the inequality in how female and male bodies are represented, and how these representations reflect and reinforce broader power dynamics. While male characters tend to be represented in postures that denote power, action, and agency, women often appear in poses that prioritize the display of their physical attributes above their participation in the narrative action.

Beyond aesthetics: social and narrative implications

What underlies the “male gaze” transcends the purely visual; it has to do with a way of seeing and understanding women as social subjects. This stigmatization has generated that, for a long time, the reproduction of these same characters and functions is expected in mainstream works, creating a cycle of expectations and representations that reinforce each other.

This dynamic not only has political implications in relation to which audience we address, but also significantly impoverishes our creative products. By using crystallized figures and predefined roles over and over again, we are limiting our capacity for innovation and narrative originality. Stereotyped female characters are not only problematic from a representation perspective, but also predictable and flat from a purely narrative point of view.

To adapt to new demographics and enrich our stories, we must consider who the people reading us really are. Among them are a growing number of girls and women who do not feel identified or addressed by comics that, consciously or unconsciously, are conceived by men and for men.

Beyond commercial considerations, there is the ethical responsibility of creators. Visual representations are not innocuous: they build imaginaries, reinforce or question stereotypes, and can influence how people perceive themselves and others. Creating three-dimensional female characters, with their own agency and diverse bodily representations, is not just a matter of political correctness, but an opportunity to expand our creative horizon and connect with a broader and more diverse audience.

Towards a new gaze: the emergence of the “female gaze”

Thanks to advances in debates on gender equality, the “male gaze” has been increasingly studied, criticized, and revised in multiple artistic fields. In response, productions have emerged that consciously avoid this traditional perspective, claiming a gaze that is more inclusive of the female audience and non-binary identities.

This alternative proposal, known as “female gaze,” is not simply limited to inverting roles and objectifying male characters. On the contrary, it seeks to grant agency to female characters so that they cannot be reduced to their physical qualities or to the submission and passivity characteristic of the traditional current.

The “female gaze” contributes to highlighting qualities that do not necessarily have to do with sexualization and objectification for another, but for the character’s own expression. These characters can be women with power, strong personalities, diverse bodies (hegemonic or not), with explicit sexual desire or without it, which allows them to have more dimensions and generate more developed and complex stories.

It’s important to clarify that the “female gaze” does not imply the absence of sensuality or physical attraction, but a change in how these elements are presented and contextualized. Sexuality and attractiveness can be present, but as expressions of the character’s agency and not as their defining characteristic or as a spectacle for the external gaze. Enhance your ability to create characters with depth and authenticity by accessing specialized resources here.

Some common characteristics of the “female gaze” in comics include:

  • Female characters who take the initiative in the plot
  • Diverse and realistic bodily representations
  • Functional clothing consistent with the character’s personality and activities
  • Natural poses that prioritize emotional expression and action over physical exhibition
  • Complex relationships between female characters (friendship, rivalry, mentorship, etc.) independent of male characters
  • Romantic or sexual scenes that show female desire and pleasure as active, not as passive responses

Saga: a brilliant example of the “female gaze” in action

One of the most acclaimed comics in recent years is “Saga,” winner of three Eisner Awards and a Hugo. This fascinating space opera created by Brian K. Vaughan and illustrated by Fiona Staples represents an excellent case study on how to effectively and artistically implement the “female gaze.”

The plot follows Alana and Marko, beings from two different races at war who fall in love, have a daughter, and must flee through space from those who intend to hunt them down. Despite including a considerable dose of romance and sexual scenes, the way of representing them differs radically from what we have analyzed previously.

A first distinctive element is the narrative voice: the story is narrated by Hazel, the daughter of the protagonist couple, who from the future tells us about the adventures and feats of her parents. This narrative decision already establishes a different perspective, a gaze that humanizes the characters and prioritizes family and affective bonds over the exhibition of bodies.

Family kiss scene in Saga

In this panel that occupies a full page, we can appreciate a kiss between Alana and Marko occupying the center of the composition. Unlike what we would see in a work dominated by the “male gaze,” there are no strange positions here that deform the female body to highlight certain physical attributes. Instead, our characters embrace with their daughter, creating a joint plane that expresses family unity and genuine affection.

This scene does not seek to awaken sexual desire in the viewer, but to represent an intimate moment of love between complex individuals with a shared history. This intention is reinforced with a subtle but effective visual resource: in the background, red-eyed beasts threatening the family can be distinguished, but from this particular framing they resemble butterflies or hearts, traditional symbols of romance, generating a visual ambiguity that enriches the reading.

Another notable aspect in “Saga” is the treatment of bodies and clothing. Although the protagonists could be considered physically attractive by conventional standards, their bodies are not hypersexualized or gratuitously exhibited. The clothes they wear respond to practical needs within the narrative universe and are not primarily designed to highlight physical attributes.

Romantic approach sequence in Saga

The composition of this page masterfully exemplifies the essence of the “female gaze.” Let’s observe how the bodies of Alana and Marko progressively approach each other from one panel to another, with frames that gradually close until showing us close-ups of great emotional intensity. Most significantly, the characters look directly into each other’s eyes, establishing an intimate connection that transcends the purely physical.

The kiss that culminates the sequence occupies a prominent place, expressing more romanticism and emotional complicity than explicit sexual desire, although romantic tension has been building narratively since much earlier in the story. This graduality and emotional context are fundamental characteristics of the “female gaze”: desire does not arise as an instantaneous reaction to the exhibition of a body, but as the culmination of an emotional connection developed over time.

“Saga” demonstrates that it is possible to create a visually impactful work, with explicit romantic and sexual relationships, without falling into the limiting tropes of the “male gaze.” The commercial and critical success of the series also proves that this approach is not only ethically more inclusive, but also commercially viable and artistically enriching. Discover how to create visually impactful and emotionally deep narrative sequences here.

Reimagining classic characters: when revision enriches

An interesting phenomenon in the evolution of contemporary comics is the reinterpretation of classic female characters originally conceived under the “male gaze.” These revisions not only update the visual aesthetics but frequently delve into the psychology and motivations of these characters, giving them dimensions that were originally denied to them.

Take for example the evolution of characters like Wonder Woman, who has transitioned from her first appearances with revealing outfits and suggestive poses, towards more balanced representations where her strength, leadership, and intellect take center stage. Modern interpretations of Wonder Woman tend to show her with functional armor for combat and in dynamic poses that emphasize her power and determination, not her sexual attractiveness.

Another notable case is that of characters like Barbara Gordon/Batgirl or Carol Danvers/Captain Marvel, who have evolved from secondary roles or hypersexualized suits towards representations where their intelligence, strategic capacity, and leadership are central. Their current uniforms tend to be more practical and consistent with their activities, and their stories explore personal and professional dimensions beyond their romantic relationships.

Even Mary Jane Watson, the example we analyzed earlier, has received more complex reinterpretations in some modern series, where her career as an actress, her personal ambitions, and her relationship with Peter Parker are explored from a more balanced and mature perspective.

These evolutions do not imply denying the sexuality or attractiveness of the characters, but contextualizing them within complex and multidimensional personalities. Beauty or physical attractiveness can still be attributes of the character, but they are no longer their defining characteristic or the center of their visual representation.

The valuable thing about these reinterpretations is that they demonstrate that characters do not lose interest or popularity when treated with greater depth; on the contrary, they often gain followers who appreciate these new narrative dimensions. This confirms that the contemporary audience is increasingly receptive to complex and diverse female representations, not limited by the traditional tropes of the “male gaze”.

Practical tools for illustrators: beyond theory

Once the theoretical concepts are understood, the practical question arises: how can we apply this knowledge in our creative work? Below, we present some concrete tools and considerations for illustrators and comic artists who wish to create works with more balanced and authentic representations.

A fundamental first step is to develop the ability to recognize the “male gaze” in our own work. This implies a critical review of our drawing habits, asking ourselves if we are resorting to conventionalisms that objectify female characters. Do we draw women in impossible poses to simultaneously highlight breasts and buttocks? Are their outfits functional and consistent with their personalities and activities? Are male reactions to their presence unnecessarily sexualized? Delve into advanced techniques for creating memorable characters beyond stereotypes here.

Body diversity is another fundamental aspect to consider. The real world is populated by people with an infinite variety of body types, skin tones, ages, and physical characteristics. Reflecting this diversity in our illustrations is not only more representative of reality, but also visually enriches our works and allows a broader audience to identify with our characters.

Regarding poses and body expression, it is useful to ask: is this posture physically and emotionally consistent with what the character is experiencing at this moment? Or is it primarily designed for visual display? Poses that prioritize emotional expressiveness and narrative action tend to be more dynamic and interesting than those that only seek to highlight physical attributes.

As for clothing, considering functionality and coherence with the character can guide more accurate decisions. A character who regularly fights will need clothing that allows movement and offers protection. A professional in a specific work environment will use outfits according to that context. These elements can still be aesthetically attractive and distinctive without falling into gratuitous hypersexualization.

Finally, balance in the framing and shots used is crucial. Evaluating if we are resorting excessively to close-ups of certain parts of the female body without narrative justification can reveal unconscious biases in our way of constructing the visual sequence.

Let’s narrate with a renewed gaze!

Throughout this journey, we have explored the implementation, harms, and restrictions of the “male gaze,” both from the point of view of reception and from the artistic perspective. The conclusion is clear: opening our creative horizon to more diverse and inclusive forms of representation is not only an ethical responsibility, but also an opportunity to enrich our works and connect with a broader and more diverse audience.

We can conclude that it is advisable to propose alternatives to the traditional gaze to expand our demographics and demonstrate our ability to update the language of comics. The world of comics is constantly evolving, and new generations of readers and creators are driving significant changes in how female characters and gender relations are represented.

This process does not imply renouncing beauty, sensuality, or romance in our stories, but enriching them with greater psychological depth, diversity of representations, and respect for the integrity of all our characters, regardless of their gender. Ready to take your narrative and illustrative skills to the next level? Find inspiration and practical resources here.

To conclude, we offer some key questions that can serve as a guide to create works that propose innovations and integrations when representing and narrating:

  • Who will my female characters be and what will be their psychological complexity beyond their appearance?
  • What will their roles be in my story? Do they have their own agency and motivations that transcend male characters?
  • What will their first appearance be like and what aspects of their personality, not just their physique, do I want to initially highlight?
  • What will they talk about with other characters, especially with other female characters?
  • What strengths and weaknesses will they have that don’t repeat stereotypes and stigmatizations?
  • How will I show them visually in a way that respects their integrity as complete characters?
  • How will male characters react when seeing them, beyond attraction or rejection based on appearance?
  • How will I represent their bodies and in what poses will I place them so that they express their essence and are not unnecessarily exposed?
  • What clothing will they use that is consistent with their personality and activities, avoiding gratuitous objectification?
  • If a situation of sexual tension arises, how will I illustrate it so that both parties are active participants and it doesn’t reproduce the conqueror/conquered binary?

These questions do not seek to limit creativity but to expand it, inviting us to explore narrative and visual territories that we may not have considered before. The diversification of gazes and perspectives can only enrich our medium and make it more relevant to the contemporary world.

With these reflections as a starting point for creation and illustration, discover tools and resources that will inspire you to create genuine and authentic characters. It’s your turn to narrate with a renewed, conscious, and enriching gaze.

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