Sword Hero #1…. Real Sonja!
Billed in her Marvel profile as one of the greatest sword-fighting martial artists and in peak physical condition, Red Sonja most often appears in inane poses and wearinglingerieclothing that would get one killed in real alpine environments, let alone in combat- or just walking into a traditional village in some parts of the world.There have been exciting redesigns in recent times, yet I thought I’d contribute my own vision of what Real Sonja could be with dignity, medieval martial arts skills and sensible clothes.
Real Sonja is beautiful, but not glamorous. Her boots are muddy, her chainmail broken and rusted in places. Her skin is scarred.
Since Sonja is supposedly Russ or Ukrainian, I’ve borrowed elements of Russian infantry kit from the 13th century, whilst inventing a plausible armour rig that keeps her style of form-fitting chain/scalemail with exposed arms and loose hair. Her boots and an undershirt are lined with fur, and her hair is half-bound back from her face in a warrior’s braid.I have closed the rectangular holes in her gloves and filled them with bands of tough leather. Sonja wears a sleeveless quilted aketon beneath her chainmail, which is strapped over with several belts and a flesh-coloured gorget of un-dyed leather. Her pants are also flesh-coloured, allowing her to visually rock the traditional Sonja look but with the practicality of actual clothing.
I’d like to think that she has a big warm cloak somewhere nearby, along with a bag, more weapons, her missing dagger and a horse. This is a practical, experienced outdoor woman who would be well prepared for harsh conditions.
Sonja’s sword technique is straight from Fiore de’i Liberi’s ‘Flower of Battle’, (the Getty version) and her stance is as close as possible to the victorious figure in the original manuscript (bottom left of folio 29r).
In this section of the book Fiore is teaching close sword plays, and this is one of many variations on how to deal with an opponent whilst fighting at intimate distance. Of this move Fiore says,
“Se uno se covra de la parte riversa piglia la sua mane stancha cum la man stancha, cum tutto lu pomo de la sua spada e penzilo in dredo e cum punta e taglio ben lo po’ ferire.”
“If he (your opponent) covers from his left side, grab his left hand including his pommel with your left hand, and pull it upwards and backwards. From there you will be able to strike him with thrusts and cuts.”*(*Translated to modern English by Colin Hatcher, via the Wiktenauer)
A reinterpretation of Red Sonja by real life swordswoman Samantha Swords combined with techniques from actual fighting manuals is simply pure awesome.
I particularly like the use of the flesh toned leather to give a similar silhouette to visible mail without going for the same exposed cleavage that seems to have haunted Red Sonja for decades.
It’s a great demonstration of how even if you really want to cultivate a nod to a past look, you don’t need to perpetuate all the problems from that look.
– wincenworks
filipfatalattractionrblog submitted:
When Symbiotes in Marvel bond with women, the results are usually….atrocious. Scream, Agony, Scorn and first She-Venom are horribly sexualized, something that cannot be said about Venom or Carnage.
I’d dare to even say they break the theme symbiotes had going – Venom is twisted, evil reflection of Spider-Man and Carnage is the same for him. Yet all of these women could be described as “just like Venom, only sexy”. They pretty much look naked. There are, however, two notable exceptions, both hosts of the same symbiote, that I want to bring to the spotlight.
Patricia Robertson, the second She-Venom, was a host of artificially created clone of Venom symbiote and was notable in that she looked exactly to her male counterpart. Marvel Database mentions the artist would give her a more feminine look, but only occasionally, when the main measures taken to tell her and male Venom apart (coloring them with different sheen and having She-Venom’s tongue hang out more often) would not be sufficient. However, as she only meets Eddie Brock towards the end of her short-living series, for the most of the book she simply looks like him.
The symbiote clone would end up being absorbed by the original only to separate in 2012 and find a new host, Andrea Benton, who took codename Mania. She gets a look that, while still having some issues overall (Sonic the Hedgehog hair, for one) it does not look like painted on her skin, nor does it feature boobsocks. And thank heavens for tat, since she is still a teenager. It even visually reflects her personality – an angry teenage punk – just like Venom’s modern, militaristic look reflects Flash Thompson’s history in military.
I’m sure some would argue that Marvel universe symbiotes are supposed to look naked, therefore clearly visible boobs are obligatory when the host happens to have a pair… But why exactly would that be? It’s not like Venom or Carnage are fully anatomically correct either with their primary or secondary sex characteristics.
Also, since symbiote tends to distort the host’s body, it’s highly suspicious how when bonded with a woman, it would make sure to always fill that thin feminine silhouette with big, round perky boobs and butt (and “sexy” posing, of course!).
And even if we agreed that “naked” look is the only right one, it is entirely possible to go about using nudity without sexualization through framing/posing/etc.
It’s refreshing to see at least two takes on female Venom that deny double standard and either make the host equally monstrous as male counterpart or look more experimental.
~Ozzie
I think it says a lot about comics that when the symbiot suit joined with Eddie Brock, it immediately transformed to give him the monstrous mouth – but it’s taken a few iterations for Marvel to be comfortable with the idea of having a female character with a symbiot suit express some individuality.
– wincenworks
