Comparing Isolde's Camelot 3000 And Queer Theory

Camelot 3000 and Queer Theory

Queer Theory is the idea that our identity is generated from fluid components and heteronormative society suppresses the fluidity of these components forcing those who identify as queer to rebel against heteronormative society. This suppression of fluidity and rebellion of heteronormative identity is prevalent throughout Camelot 3000. Isolde is the figure piece for everything queer and goes against any form of heteronormative identity. She is a woman who loves a man trapped in a woman’s body. Isolde’s love for Tristan transcends his physical sex as she sees him as he sees himself. Tristan is a woman who sees himself as a man and Isolde’s love goes against the heteronormative view that she must continue to

love a male body. Her appearance also hints at queerness, as she does not present herself within the norms of the time. Her hair and clothing suggest a push away from any established custom.

The mix of her appearance between male and female designated hairstyles and odd costumes exemplifies the nature of her rebellion against a heteronormative society. Isolde’s queerness is rarely confined to normal panels; instead, she overwhelms the borders of the panels. This insinuates a type of counterculture to what society follows by defying any norm. Her queerness works as a destructive force in heteronormative order. As Isolde arrives and meets Tristan once again, she makes him question everything and long for his male body again. This swirl of emotion causes him to almost destroy the round table. This can be seen as a metaphor regarding how queer theory’s purpose is to overturn the established order of heteronormative thinking. Queer theory stands to defy what is perceived to be ‘normal’ by deviating from any established heteronormative standard within society. Isolde’s queerness draws from her refusal to bend to society’s norms. Consequently, her queerness helps destroy the heteronormative identity that was preventing Tristan from embracing his love for her. Isolde’s queerness in avertedly shatters the boundaries within sexuality, by establishing a fluid spectrum of sexuality

unconcerned with societal norms.
Isolde’s queer unconditional love for Tristan disrupts what is perceived to be ‘normal’ by demonstrating that gender holds no authority over love.

When Isolde first meets Tristan eye to eye again, she professes her concern for his safety as if nothing mattered and their love remained as it always was. Her queerness can be seen through the page as she is not featured in a panel and simply exists outside the bounds of rational and conservative panels just like her love for Tristan (Camelot 3000 Chapter 6 p. 24). There is a diagonal line in the background illustrating the dynamic and changing force that Isolde’s love represents. Isolde’s love for Tristan is a major disruption of the established heteronormative identity. This is a defiance of heteronormative identity, while everyone views Tristan as a woman now; Isolde acknowledges Tristan as the man he sees himself as. This is a clear rebellion to the heteronormative standard, but it also demonstrates the benefits of a love that bypasses all norms and is true only to the person inside regardless of gender. At first Tristan’s love for Isolde is overshadowed for his self-hatred of not physically being a man. He must first come to terms with his queerness instead of attempting to become ‘normal’ by fitting into a heteronormative standard in which Isolde helps him break out of and find

self-acceptance.
Isolde’s appearance is a symbol of queerness, which causes her to be in contrast with society’s heteronormative composition. The manner in which she portrays herself falls in line with her attitude as they both disregard the established norms of society. In one panel we see her kissing Tristan while carrying flowers in her braids and wearing non-standard clothing (Camelot 300 Chapter 7 p. 7). Her hairstyle does not conform to any gender specific hairstyles; it transitions from a Mohawk that is stereotypical of men to braids with flowers that represent a feminine characteristics. This odd assortment of hairstyles presents itself as queer by disrupting the heteronormative ideal of a woman’s hairstyle. Isolde’s refusal to abide by heteronormative ideals of appearance or sexuality places her at odds with society. However, her clothing, although odd and out of touch with society still conveys her as a woman. She wears short skirts at times or thongs with high-heeled boots. This demonstrates that even though her hairstyle and love might not conform to society her clothing fall in line with the suggestive undertones of women’s clothing in heteronormative society. Thus showing that some aspects of her persona embody queerness, but not all of her is pushing the idea of rebelling against what is perceived to be heteronormative. However, queer theory does not require you to rebel against every aspect of the heteronormative order. The fact that she disrupts societal norms advances queer theory. Her characterization shows that queerness does not mean she cannot hold feminine characteristics while exhibiting queerness in her appearance and her romantic life.
Isolde’s inability to fit inside panels represents the conservative and rational nature of heteronormative society that she refuses to comply with. Her non-conformity to heteronormative standards is hinted since her biggest appearances are outside the panels. In the panel or lack of panel where she is embracing Tristan the small slanted panels represent queerness (Camelot 3000 Chapter 12 p.28). These panels lack color and do not follow any pattern; instead they show what appears to be an intense panel of passion labeled as lesbian sex. Most characters occasionally fall out of line with the panels hinting that they too embody some aspects of queerness. However, Isolde embodies queerness because she constantly defies heteronormative and heterosexual norms by existing in non-panels and overlapping existing panels. Her appearance in non-panels is indicative of her queerness, since the panels act as metaphor for heteronormative norms. Tristan’s self-loathing, however, at times stands in the way of this as a pillar of heteronormative society, but Isolde’s love manages to transform that self-loathing into love. She does this by shattering the pillar of heteronormative society through her persistent demonstration of queer love.
Isolde is the embodiment of queer theory because she represents a person whose identity is ever evolving to what she feels and does not conform to any standard or norm. Her love for Tristan surpasses any heteronormative standard that society might attempt to impose on her. She loves him for the man who he sees himself as despite the fact that he feels trapped inside a woman’s body. This love is queer because it doesn’t follow societies’ view instead it pushes against society's heteronormative perception of what love should be. The fact that her appearance goes against the fashions of a heteronormative female indicates Isolde’s queerness. She is demonstrating that she is neither of societies’ intended genders instead following her own queer path. A final observation of her queerness comes from her portrayal in the comic panels or lack there of. Isolde rarely fits inside the panels always over lapping and transgressing across the rational and conservative borders that make up the panels. Her queerness acts as a destabilization of everything in the heteronormative world because her sole presence causes Tristan to become engulfed by his emotions that almost lead to the destruction of the round table.