War Politics And Superheroes

Superhero adventure comics have a long history of commenting upon American public opinion and government policy, and the surge in the popularity of comics since the events of September 11, 2001, ensures their continued relevance. This critical text examines the seventy-year history of comic book superheroes on film and in comic books and their reflections of the politics of their time. Superheroes addressed include Batman, Wonder Woman, Spider-Man, Superman, the Fantastic Four and the X-Men, and topics covered include American wars, conflicts, and public policy. Instructors considering this book for use in a course may request an examination copy here.

Superhero adventure comics have a long history of commenting upon American public opinion and government policy, and the surge in the popularity of comics since the events of September 11, 2001, ensures their continued relevance. This critical text examines the seventy-year history of comic book superheroes on film and in comic books and their reflections of the politics of their time. Superheroes addressed include Batman, Wonder Woman, Spider-Man, Superman, the Fantastic Four and the X-Men, and topics covered include American wars, conflicts, and public policy. Instructors considering this book for use in a course may request an examination copy here.

Contributions by Derek T. Buescher, Travis L. Cox, Trischa Goodnow, Jon Judy, John R. Katsion, James J. Kimble, Christina M. Knopf, Steven E. Martin, Brad Palmer, Elliott Sawyer, Deborah Clark Vance, David E. Wilt, and Zou Yizheng One of the most overlooked aspects of the Allied war effort involved a surprising initiative--comic book propaganda. Even before Pearl Harbor, the comic book industry enlisted its formidable army of artists, writers, and editors to dramatize the conflict for readers of every age and interest. Comic book superheroes and everyday characters modeled positive behaviors and encouraged readers to keep scrapping. Ultimately, those characters proved to be persuasive icons in the war's most colorful and indelible propaganda campaign. The 10 Cent War presents a riveting analysis of how different types of comic books and comic book characters supplied reasons and means to support the war. The contributors demonstrate that, free of government control, these appeals produced this overall imperative. The book discusses the role of such major characters as Superman, Wonder Woman, and Uncle Sam along with a host of such minor characters as kid gangs and superhero sidekicks. It even considers novelty and small presses, providing a well-rounded look at the many ways that comic books served as popular propaganda.

This book offers an interdisciplinary approach to the study of comic-books, mobilising them as a means to understand better the political context in which they are produced. Structured around key political events in the US between 1938 and 1975, the author combines analyses of visual and textual discourse, including comic-book letters pages, to come to a more complete picture of the relationship between comic-books as documents and the people who read and created them. Exploring the ways in which ideas about the US and its place in the world were represented in major superhero comic-books during the tumultuous period of US history from the Great Depression to the political trauma of Watergate and the end of the Vietnam War, Superheroes and American Self-Image sheds fresh light on the manner in which comic-books shape and are shaped by contemporary politics. As such it will appeal to scholars of cultural and media studies, history and popular culture.

For decades, scholars have been making the connection between the design of the superhero story and the mythology of the ancient folktale. Moving beyond simple comparisons and common explanations, this volume details how the workings of the superhero comics industry and the conventions of the medium have developed a culture like that of traditional epic storytelling. It chronicles the continuation of the oral/traditional culture of the early 20th century superhero industry in the endless variations on Superman and shows how Frederic Wertham's anti-comic crusade in the mid-1950s helped make comics the most countercultural new medium of the 20th century. By revealing how contemporary superhero comics, like Geoff Johns' Green Lantern and Warren Ellis's The Authority, connect traditional aesthetics and postmodern theories, this work explains why the superhero comic book flourishes in the "new traditional" shape of our acutely self-conscious digital age.

It's 1943 and World War II is raging. 15-year-old Robert Tourond is home in Calgary, but his three brothers are all fighting the Nazis. Robert follows the exploits of his favourite comic book heroes who also battle bad guys in the comics Robert spends his allowance on. When Robert finds a meteorite in Nose Hill Park near his home, in the same week that a meteorite features in his heroes' stories, Robert is convinced that a magical link exists between them, adn that the superheroes will protect his brothers. Robert has a nemesis of his own on the streets of Calgary - a girl they call "Crazy Charlie." When Robert gets a job delivering telegrams, Charlie does too, cutting into his profits. Then they discover exactly what those telegrams they're delivering have for the recipients. Then Charlie has to deliver one to Robert's house. Can Robert and his heroes really protect all three brothers and bring them home? What will happen if reality comes crashing into his world, like a meteorite falling from space? Who will help then?

Meanwhile, back in the darkened alleys of a city near you... trouble is brewing. A fight breaks out. A mugger shakes down an innocent tourist. Inequality is on the rise. Enter our heroes. Dark Guardian chases off an angry drug dealer in Manhattan. Mr. Xtreme charges in and breaks up a San Diego bar brawl. T.O. Ronin hugs a homeless man on the snowy streets of Toronto. These aren’t the big-screen or comic-book heroes that have been increasingly dominating pop culture. They’re real-life superheroes: individuals who take on masked personae to fight crime and help the helpless. They don’t have superpowers, but they do try to make the world a better place. Lifelong comic-book fan and veteran journalist Peter Nowak goes to the source of this phenomenon, meeting with real-life superheroes in North America and around the world to get their stories and investigate what the movement means for the future of society. To some people, real-life superheroes may seem like quirky outliers or dangerous vigilantes but, as Nowak shows, they are also archetypes whose job is to remind us of the better part of human nature.

Contributions by Phil Bevin, Blair Davis, Marc DiPaolo, Michele Fazio, James Gifford, Kelly Kanayama, Orion Ussner Kidder, Christina M. Knopf, Kevin Michael Scott, Andrew Alan Smith, and Terrence R. Wandtke In comic books, superhero stories often depict working-class characters who struggle to make ends meet, lead fulfilling lives, and remain faithful to themselves and their own personal code of ethics. Working-Class Comic Book Heroes: Class Conflict and Populist Politics in Comics examines working-class superheroes and other protagonists who populate heroic narratives in serialized comic books. Essayists analyze and deconstruct these figures, viewing their roles as fictional stand-ins for real-world blue-collar characters. Informed by new working-class studies, the book also discusses how often working-class writers and artists created these characters. Notably Jack Kirby, a working-class Jewish artist, created several of the most recognizable working-class superheroes, including Captain America and the Thing. Contributors weigh industry histories and marketing concerns as well as the fan community's changing attitudes towards class signifiers in superhero adventures. The often financially strapped Spider-Man proves to be a touchstone figure in many of these essays. Grant Morrison's Superman, Marvel's Shamrock, Alan Moore and David Lloyd's V for Vendetta, and The Walking Dead receive thoughtful treatment. While there have been many scholarly works concerned with issues of race and gender in comics, this book stands as the first to deal explicitly with issues of class, cultural capital, and economics as its main themes.