by Spencer Irwin
This article will contain SPOILERS. If you haven’t read the issue yet, proceed at your own risk!
One of the primary causes of the discrimination and harassment women face is the attitude that women are objects. Many men only see women as a commodity, as something that cleans their house and makes their food and gives them children, as something to ogle, as a source of pleasure and nothing else. It’s an indescribably harmful concept, and one society enforces in practically uncountable ways. The patriarchal dystopia of Bitch Planet, of course, takes this concept to the extreme, quite literally turning its women into commodities to be bought, sold, and used however men please.
This is most clear in Bitch Planet Triple Feature 2‘s first tale, Che Grayson and Sharon Lee De La Cruz’s “Bits and Pieces,” which closes on its “Miss Tween Neck Competition” winner being wheeled off into what might as well be a Cadmus or Hydra laboratory, the “prize” for her winning neck being her body turned into a product for the Fathers to use, giving no thought to the young woman’s feelings or humanity whatsoever.
The scenario that Maya, the protagonist of Jordan Clark and Naomi Franquiz’s “What’s Love Got To Do With It?”, faces is less blunt, but no less insidious. Her difficulties finding love — which inadvertently thwarts the Fathers’ desire to turn her, as all women, into a product for her husband to use — leads to a hefty “Old Maid Tax” on her parents, and Maya into the bleak world of online dating. Ultimately Maya gets the closest thing this issue has to a “happy ending,” but only by turning herself into a commodity.
In this world, even a best-case scenario, wherein Maya gets to keep her autonomy while also saving her family’s home, still plays directly into the Fathers’ plans.
Danielle Henderson, Ro Stein, and Ted Brandt’s “This Is Good For You” details the lengths Bitch Planet‘s government goes to to force women into compliancy. Not only does its propaganda directly state the subtext of the other tales — that women are only useful as tools for their husbands — but it manages to win over many women in-story by pretending to be looking out for their well-being. This couldn’t be further from the truth — the Fathers don’t even consider the women of their world human enough to care whether they’re happy or not. All they want is women who do their jobs and stay in their places, like good little tools.
The conversation doesn’t stop there. What do you wanna talk about from this issue?