Axel-In-Charge: Navigating the "Civil War II" Landscape, Bringing DMC to Marvel
“There was a very fine line to walk, though. To create a book that Comic Book Guy could enjoy because wa-hey, boobies and gore … but that also as a female writer (and a feminist) I could be OK with. Most people won’t notice that the gaze in the book towards the female characters is not predatory — the women are complicit, and in fact usually in charge. It’s a gossamer thing, this manipulation of gaze, this slight change, this look awry — but it makes a huge difference to how the book feels when you read it. The book makes people really happy. And, you know, for the horror crowd, the little changes in having a woman write it so some of the invasive, penetrative horror happens to men — well, it makes for more effective and unexpected horror.”
— writer Alex de Campi, talking with ThinkProgress about her new series Grindhouse: Doors Open at Midnight, a gleefully trashy exploitation comic the describes “straight-up tits and gore, the way nature (and Russ Meyer) intended.”
Nonetheless, De Campi, whose work ranges from the action thriller Ashes to the all-ages Kat and Mouse and My Little Pony, approaches her work in a thoughtful way. In the same interview, she discusses how changing the point of view of a rape scene radically alters it. De Campi’s work illustrates the point that bringing diversity into comics can greatly improve the stories, by introducing fresh and original perspectives — and even surprising the reader.