#hey. why does the 2018 one keep calling attention to the fact that eel has a dick actually.

[oliveroctavius]

idk if its an accurate word since it's not usually intentional, but how do you feel about the queer coding with Eel's gender? (especially in the 2018 comic)

to steal someone else's joke phrasing that puts it well:

I... have complex feelings on the 2018 solo's writing overall. I think my final thesis is: The character decisions were cool enough, but 2018 Plas misses out on some SUPER interesting possibilities by ignoring so much of original Plastic Man's lore.

I hope you sent this ask expecting an essay because you're getting one under the cut. Contains musings on the nature of comedy, "passing", and comics-typical transphobia.

~ ~ ~

I'm going to start with gendered attraction instead of presentation—I think it explains some things.

"The noble chaste hero gets a funny horny sidekick" is an old trope. OG Plas was the neutral hero. He seems actively scared of flirtation.

IIRC his only on-panel kiss is when he lets a lady who electrocutes via kiss power catch him, in order to defeat her (PC #100).

(Including these panels just because they're gorgeously rendered.)

The JLA writes him Like That because they'd decided he was the Horny Sidekick now. This ran into creepy-guy-threatening-women territory quick. 2018 Plas being the bouncer (get it?) at a strip club feels like both a continuation and direct rebuttal to that characterization.

Is there a hard line between queer coding and comedy-driven sexuality?

Comedy often works via expectation/setup -> subversion/punchline. Gender and sexuality standards are a kind of setup. (A man would enjoy attention from a pretty woman. A man would rather not see the Riddler in a thong.) Implied asexuality or bisexuality is then a subversion, a punchline.

I'd say it's on a sliding scale. Mockery wants you to laugh, because the subversion is impossible or unnatural. Earnest representation wants you to nod, because the subversion is possible and acceptable.

Bisexual Plas is in the spirit of the original, somewhere on that sincerity scale. Did I mention an off-panel golden age kiss?

Also, Plas and Woozy lived together and slept in Bert & Ernie beds. Listen: Woozy is a whole pile of transgressions you're supposed to find funny. If you're going for bisexual Plas, why not make him like Woozy and retroactively validate some of those jokes as possible states of being? Just sayin'.

Right, right. Gender. I'm guessing you're thinking of is the parallel drawn between Plas and the explicitly trans kiddo Pado Swakatoon. Seeing the Suave Prince of Pine Street boldly claim such a seemingly silly identity makes Eel decide to embrace Plastic Man.

So I'm disappointed that they dropped something that could make the trans parallel explicit: OG Plastic Man wasn't just Eel in shades. He created a new, permanent face and body for himself both as an expression of identity and a protective measure. Being "outed"--even though he has not physically been Eel for years at that point--nearly loses him friends, his job, and his freedom.

All 2018 Eel is really considering changing is his moral compass. With little else at stake, the parallel feels weaker.

The pressure to "pass" is an (unintentional) theme written all over pre-DCverse Plastic Man. Explicitly related to gender, even: the meanspirited man-in-dress jokes were rarely targeted at Plas even though his job included missions in girlmode.

If a joke is the gap between expectation/reality, "passing" is meeting enough expectations to close that gap. Plas fits the mold enough to dodge most of the 1940s otherwise rampant transmisogyny.

But passing as female is dangerous, too. When Plas takes a woman's place, he's usually trying to act as a lightning rod to a threat targeting her. That's another reason I love the "bouncer for a strip club" thing. They could push his identification with the dancers even further. Skimpy costume, dubiously legal night job, talented physical performer whose intelligence is often underestimated and whose secondary identity puts them at risk for violence...

It's odd. The 2018 series only has Plas take on other forms partially, momentarily, and usually just as a punchline. Passing as other people or innocuous objects to go places unaccosted is usually an entire pillar of his shtick.

When people "clock" him, they tend to shout something like "That's not a table! It's Plastic Man!" But if he's shaped like a table, and acting as a table, it would be just as accurate to say "Plastic Man is a table now" until he resumes his "normal" form. He can be one thing today and another thing tomorrow and all of those things for real.

Your ask uses the word "queer". That word shows up in the oldest comics in its original meaning: out-of-the-ordinary. Those who self-identify as "genderqueer" often do so because they'd rather not define themselves in relation to male or female-ness. "Passing" only has meaning if your goal is to be seen as one of the Expected Categories. What if you're something entirely unexpected?

(At this point I'm just kind of adding vaguely relevant panels to break up my wall of text. Thank you, 70s Plas.)

2018 Plas does briefly turn into Wonder Woman. I don't really know why he does this? Did he want to get tackled? Either way, he talks like Plas Doing A Parody--this isn't really a form he's trying to own.

Later he turns into Harley Quinn, mostly. The artist later apologized for adding serious crotch bulge to how she normally draws Harley. Which could be based, but the "transgression" lasts for just one absurdist sexed-up panel.

Plastic Man is the character it makes least sense to trot out the "men can only ever parody female-ness" jokes on. He doesn't even have toes—what's inside this man's Speedo is a state of perpetual quantum uncertainty.

I love Pado Swakatoon being included in the 2018 comic. But Pado's transition, rejecting identity A, preferring identity B, probably isn't the best lens for reading Eel. Transition doesn't have to be a straight line to a fixed destination; it's slipperier than that.

I'd argue "being Plastic Man" isn't a goal identity; he's just a conveniently safe default for someone who can be anyone. He's more defined his ability and enjoyment of change: the joy of self-determination without boundaries. The joy of being able to change one's mind at any time for any trivial reason. Because it can be helpful, because it can be fun, and because it can be him, all of it.