Seite - 47 - in JRFM - Journal Religion Film Media, Band 03/01

Rampant Lechers, Chaste Heroes | 47www.jrfm.eu 2017, 3/1, 45–57 ViOLeNCe AND seX iN COMiC BOOK sCreeN ADAPtAtiONs Violence is a central element of commercially oriented comic book adaptations for the screen in both hollywood and Japan. the conventions of what may be shown, however, vary markedly, with differences also identifiable within the scope of Western, i.e. U.s. productions: if a “big” Marvel or DC comic adaptation is planned, the film usually aims for a PG-13 rating, which results in presentations of violence that are relatively free of bloody and physical imagery. Deliberately alternative films such as Deadpool (tim Miller, Us 2016) or Watchmen (Zack snyder, Us 2009)5 or tV series like Daredevil (2015-) increasingly approach an explicitness of physical violence that is typical of Japanese anime or live-action manga adaptations. in this context, “explicit” is understood as the realistic to hyper-realistic portrayal, in close-up, of the deformative effects of violence on the body, in particular the depiction of open wounds and blood gushing forth, as well as the often irreversible destruction of parts of the human body. in both Western and Japanese comic book adaptations for the screen, physical violence is meted out both by heroes or positively connoted characters and by their an- tagonists. Conventional comic book adaptations – this may already be stated at this point – not only cannot make do without violence, but also have violence as a central element of the visual experience in the cinema or before the tV set. this observation does not apply to sex. in U.s. mainstream movies or tV series in the genre of comic book adaptations, even erotic scenes where bed- sheets are positioned strategically in typical hollywood style are almost entirely lacking. this – at least visually – asexual existence is a hallmark not only of the heroes but of their evil counterparts as well. As excessively as villains might be- have in other respects, active sexuality is not among the sins they are punished for by the hero. An aspect that will be discussed below concerns the fact that closer inspection reveals the baddies to be not truly asexual but rather imbued by an inhibited, non-heteronormative sexuality which is part of the character traits underlying their evil actions. in the universe of well-known Marvel and DC comic book adaptations, there are, however, two successful (also commer- cially) exceptions to this observation: Deadpool (2016) and Watchmen (2009). in almost every respect, Deadpool deliberately caricatures the image of the no- ble superhero: Wade Wilson is a semi-alcoholic petty criminal who first enjoys a quite unromantic but intense one-night stand with his future partner before they embark on a relationship marked by very explicit, animalistic sexuality. his superhero career takes off following a dubious cancer therapy, and his hunt for the villain serves the exclusive purpose of personal revenge, although it does 5 Deadpool: Marvel 1991–, Fabian Nicieza/Rob Liefeld; screen adaptation: Deadpool (tim Miller, Us 2016); Watchmen: DC 1986/87 (graphic novel), Alan Moore/Dave Gibbons; screen adaptation: Watch- men (Zack snyder, Us 2009).