Over the last several years, a number of gay and lesbian
characters have appeared in mainstream comic books, most often as
incidental or occasional characters, but in a few cases, as
important main characters.
You might remember "The Rawhide Kid," an older comic character
who was reinvented for a five part series as a super gunslinger and
gay man with a modern gay sensibility and exquisite taste but
inserted back into the old west.
Gay novelist Robert Rodi's comic series just a few years ago,
"Code Name: Knockout," was one of the most enjoyable--smart, funny,
and entirely gay positive with a gay male sidekick for the
voluptuous heroine.
But the most significant gay characters have to be Apollo and
the Midnighter, ongoing major characters in the ensemble cast of
the science fiction comic series "The Authority." Like the other
main characters Apollo and the Midnighter are genetically enhanced
super-humans who live on a sort of spaceship and spend their time
fighting super-villains on earth as well as from the future, other
dimensions, and parallel universes.
Blond Apollo can fly and is nourished by solar radiation. The
Midnighter, clad entirely in black, is the ultimate fighting
machine who can anticipate his opponents' moves. The origin of
their relationship is obscure, but they are deeply in love and
their relationship is comfortably accepted by the other members of
the Authority.
Their relationship is not always in the forefront of the action,
but it is constantly there as part of the background. In one
episode where they were separated and their survival was in doubt,
when they were reunited they hugged and kissed passionately,
leading another character to yell playfully, "Hey, you two, get a
room."
Midnighter is apparently a popular character. He now has his own
series as well. In one recent issue (No. 5) when Midnighter
encounters some friendly people from the 96th century, one of the
women asks if he wants to have sex, and Midnighter explains that he
is gay. The concept makes no sense to her and she eventually
explains that in her time there is no gender-based sexual
preference at all. At that Midnighter bursts out laughing and
exclaims "That's great. That really is outstanding," and then
louder, "Hey, can you hear me in the Bible Belt? You're all wasting
your time."
In the following issue (No. 6) the Apollo-Midnighter
relationship is re-imagined as taking place in Shogunate Japan.
Midnighter is a wandering samurai who is hired by the Shogun after
he kills the Shogun's guards who challenge him. Eventually Apollo,
also a wandering samurai, passes by and after a standoff in the
briefest of sparing, they agree not to fight. Instead they become
lovers.
Apollo joins the Shogun's household and tells the fascinated
Shogun of the many things he has seen in his wide travels. "It was
a joyful time," says the Midnighter. "By day I did my duty. The
nights were ours." Fearing to lose his power and influence, the
Shogun's prime minister hires men to kill the pair in their bed.
The two fight back killing all the attackers, but Apollo too is
killed. His last words to Midnighter: "I love you."
Midnighter buries him in a wooded area. "We were happy in these
woods," he explains. "We walked together and the shining sun seemed
not one-tenth as bright as he. It seemed a fitting place." Bereft,
Midnighter leaves the Shogun's service, but returns a year later to
kill the prime minister.
This story is told as a series of flashbacks to a group of
samurai swordsmen Midnighter has lured to Apollo's gravesite by
sending each an invitation addressed to "To the greatest swordsman
in all the land." Throughout Midnighter's story, the assembled
samurai express disgust and revulsion at the idea of two men as
lovers and seek to challenge and kill him. At the end Midnighter
springs upon them and kills them all, leaving their bodies as a
sacrifice to his dead lover.
The narrative that continues inside Midnighter's head explains,
"Every year I come here and bring my lover (sacrifices). And every
year I weep for it is all I know." And he walks off alone under a
cloudy, wintry sky.
It is a depressing ending, but in a way satisfying as a gay
revenge fantasy. Still, I cannot imagine what the young straight
men who typically buy comic books make of this. Maybe they are
lured by the vividly depicted violence and gore itself. Or maybe
they adjust the revenge motif to their own particular targets. Or
maybe, just maybe, they absorb the notion that homophobia springs
from irrational hatred and deserves to be condemned.