The Comic Book Enthusiast
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Despite being over 60 years as stated within Chapter One of Batman Unmasked: Analyzing a Cultural Icon, the “‘five key components [which] constitute the core character of the Batman: traits/attributes; events; recurrent supporting characters; setting and iconography’” (Brooker 37) are still being displayed within Batman’s package. I think in order to keep him attached to that resonance, “The same basic template [of] key codes[,] which identify Batman and distinguish him from any other character in popular culture … is required” (Brooker 38). Further, I agree with Brooker’s statement that Batman has become a commodity and he has been used to promote war. With Batman being so popular on his own, the cover of the comics served its duty to show the necessity of the anti-Japanese war. However, his other “association” can be connected to capitalism. Throughout this chapter, Brooker reveals the restrictions on Batman’s character of vigilantism into a more didactic figure within popular culture. Even Robin was going to be booted as “Kane reports that his editor, Jack Liebowitz, was against the idea of Robin’s introduction, for the reasons of ‘branding’ … ‘He said that Batman was doing well enough by himself and felt [he] shouldn’t [be] tamper[ed] with’” (Brooker 59). Although when the figures came in, Robin was immediately a well-established member of the “team.” In some ways, Batman became a slave to these editors because slavery goes hand in hand with capitalism as it is profitable for the people in charge. Moving on, I had no idea that Bill Finger had much to do with the art direction for Batman’s look. Thus, I think the role of art director is very crucial in creating a solid final design. The description of Bob Kane’s design kind of resembles the future’s Batman Beyond. Perhaps the idea of wanting to preserve some sort of originality from the creator led to the design of Batman Beyond with “Kane’s original red and black design” (Brooker 43). I remember at seven-years-old loving Batman Beyond. Another important point that Brooker makes is that: “The Boy Wonder’s debut, however, coincided with and consolidated changes to Batman’s ‘moral code’ during 1940” (Brooker 57). What I noticed when reading The Batman Chronicles: Volume One is that Batman becomes more aware of what it means to be human with Robin present. In other words, he is given human contact aside from some of the villains he faces. In the 1943 Batman serial, Batman’s reason for keeping his identity a secret was to assist Uncle Sam. Perhaps not fully committing to the promotion of war within the comics led the creators of the show decided to show it in the serial. This serial was appallingly racist and I imagine people who watched this felt that it was just to force Japanese Americans into internment camps. Not to mention, the portrayal of Japanese Americans through yellowface is just dehumanizing. Watching this and reading the first issues of Batman, makes me question myself being a fan of Batman. Batman No. 156 started off really odd and got really unexciting until it is revealed that Batman was in the test chamber. Finally, The Batmobile is the actual one instead of the red sports car “hiding” from view. Yay, I am glad to see Alfred. Chapter 2 is getting more interesting because of the side effects from the test chamber. Whoa, I did not expect for Batman to quit crime-fighting, which is at the core of who he is. I think Batman relies on his gadgets too much that he undermines his strength. For example, he claims: “My utility belt is gone—with my bat-rope and batarangs! I’ve been made defenseless” (Finger 2). In Batman No. 251, I noticed Dennis O’Neil’s writing is more intriguing as seen on page one where he describes The Joker. I found it interesting that Batman was awaiting Joker’s appearance. Perhaps he still believes that he was the only worthy opponent. I really enjoyed the art style in this issue and the design of The Joker is very thought out and less rushed. Page 21 reminded me of more of the comics now with full panel pages. The action sequences are getting better as the issues get higher. Alternatively, it was a different artist who illustrated this issue. I think within that allows the stories to be even more dynamic somehow. It is interesting that Issue No. 457 is called Batman’s Detective Comics, which shows how popular Batman has become even though he did not appear until Issue No. 27. This issue was the perfect one to end this week’s readings because even though it was sad showed that there is hope in humanity. Thank you very much for reading!
-Nguyen, Alina
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I am very excited to be discussing Batman this week! He is my favorite from DC Comics. I love his origin story, though tragic made him who he is. I think Batman is who the person really is and the socialite Bruce Wayne is just a cover up because when his parents died, he died with them. In The Batman Chronicles: Volume One, Batman is seen as relentless against the evil doers and I am fine with that. However, throughout most of the first issues of Batman, there were so many racist moments that had me shaking my head. For example, in issue No. 29 of Detective Comics, which is the third issue where Batman appears shows the comic as already heading in a racist direction. With Jabah, Doctor Karl Hellfern’s servant, a person of color who is depicted as aiding the bad side of the law. Moreover, it continues with Doctor Death’s other servants who are clearly viewed as the outsider with the way they are portrayed, huge and ready for destruction. Doctor Death puts the killing into the hands of these people by manipulating them to do what he pleases. It seems like every comic has to start with something racist during those times. Thus, can manipulate readers to think of these people as villains in real life not worthy of appreciation. Although, there was one moment where Wong was seen as wise and honest. Throughout most of the book, he did not care about the fate of the bad guys as he often says, “Your choice, gentlemen! Tell me! Or I’ll kill you!” (Finger 22). However, I think his character really shifted in No. 1 of Batman, when he says, “Much as I hate to take human life, I’m afraid this time it’s necessary!” (Finger 161). I think he eventually has better character development. Additionally, I enjoy reading Batman comics more because I am always at the edge of my seat. Since Superman was born with superhuman powers, Superman comics are somewhat always predictable. Although, I did see some similarities within these comics to Superman ones. Notably, when Batman asks the villains to sign confession notes. Now, I have to write about the art style. The art direction that Kane has on these comics are really great. From the small signatures of Kane at the end of each issue to the cool “The Batman” stamp that Batman uses to sign his notes. My favorite page in The Batman Chronicles was page 117 because despite having such a limited color palette, it highlighted The Batman’s abilities to a higher level than when he is in full color. There were some interesting things I noticed in these comics, too. In Batman Issue No. 1, people injected by serums appear and I wonder if they were precursors for The Incredible Hulk. They wore The Hulk’s colors just without the greenness of skin. Furthermore, I noticed on page 162, the panels go from 5 to 10. I wonder if it was a mistake by Kane or if some panels were taken out? I liked how Kane did not fully color Batman and Robin in the second panel on page 174. I really liked that Kane autographed a picture of Batman and Robin for fans on the back of one of the issues. Further, on page 178 in the opening panel, Finger uses the word “harlequin,” which I thought was great because eventually in the future Harley Quinn is a villain on Joker’s side. I thought the comment that Batman made to The Cat: “Quiet or Papa spank!” (Finger 176) was really awkward and I felt uncomfortable reading it. In fact, I think the representation of women in these comics is still not of empowerment due to Julie acting as a child telling Bruce: “I’ve worried you. But I’ll be good, I promise” (Finger 42). Moreover, Batman calling her a “Poor kid!” (Finger 49). The only female character with spunk-ish was Dala, and probably because she was a vampire. In the end, I really enjoyed the issues with Robin and The Joker. Thank you very much for reading!
-Nguyen, Alina Honestly, All-Star Superman by Grant Morrison and Frank Quitely is utterly fantastic. The episodes are well written with great art accompanied by vibrant colors from Jamie Grant. In Episode 1: “… Faster…” Superman’s “Apoptosis has begun. Cell Death. There can be only one outcome, even for [him]” (Morrison 20). However, it seems a bit farfetched that Superman can possibly die. Thus, it has to be a hoax even if the science proves that he is dying. There is no way that the character can truly die within the comics and if he does, will be revive somehow. Although, Superman’s comment: “What a bizarre irony if the source of my powers winds up killing me, when everything else has failed” (Morrison 21) proves that maybe even the strongest man alive can be stopped. Moreover, the idea of losing Superman scares the people around him, so much so that they are already thinking of ways to “grow a second Superman” (Morrison 22). Perhaps he is still seen as the other and can be easily “replace[d] … if [need be]” (Morrison 23). Wow, panel 2 on page 25 of Clark Kent’s sequence to the office is very well done and has not been seen in the early issues of Action Comics. The last panel of the page is great because it shows the kid that Superman saves and now a change in Superman’s character as a jokester perhaps replying: “Working on my suntan, chief?” (Morrison 25) to his boss asking him where he’s been. It was interesting to see the signaling of an epilogue with Lois being very kind to Clark and standing up for him. Perhaps the progression of how women are viewed has influenced Morrison into portraying Lois as kind instead of harsh as seen before. However, she ends up asking herself: “What if there really was some part of him that was bumbling, oafish Clark Kent?” (Morrison 45). It is still surprising how different Superman and Lois’ relationship differs in these issues. In the early issues of Action Comics, Lois is so in love with Superman with him pushing her away. However, in here they are together and he is trying to get her to believe him. Clark reveals to Lois that he is Superman, which was rather quick and he goes against one of the main rules of being a superhero. Additionally, the panels where he reveals his “S” and the groceries on the floor are so well done. I think I enjoyed this art style more than I did with Shuster’s art. I apologize Joseph “Joe” Shuster! Furthermore, I like that Morrison paid homage to the old Action Comics No. 241 with Lois asking about Superman’s giant key. Even Superman himself knew that he was at the beginning of what will become one of the most popular icons in comic book history stating, “One day some future man or woman will open that door, with that key. When they do, I want them to know how it felt to live at the dawn of the age of the superheroes” (Morrison 39). In some ways, Superman is referring to the readers of comic books because they get to see what is in his fortress “time capsule.” At the end of episode 2, Superman surprises Lois with her own costume and a set of his powers that lasts for 24 hours. I am very excited at this point to see what will come next. These episodes are great because they give the other characters focus as well. Since it does not feel rushed, every character gets to develop which the older comics lacked due to limited space. Moving on, the discovery of Black Kryptonite was very cool with the changing of speech bubbles into black and grey with Superman’s newly found characteristics. Also, the grey is Superman slowing losing his grip on his true self. I have to wonder that the Black Kryptonite has an otherness connotation due to him turning bad as well as not speaking English fluently. Accordingly, Lex Luthor cannot bare to lose to “an alien invader” (Morrison 118). In a span of 68 years, the idea of dehumanizing people who come from different places is still highly depicted throughout these comics. I loved that the ending of the book offers progression sketches because it is always nice to see where the design of a character starts and ends up. Superduperman!’s cover is terrible with Superduperman going into punching an elderly man which goes against what Superman’s Earth parents taught him. The Daily Planet becomes “The Daily Dirt,” which is a bit harsh but it is supposed to be satirical. Wow, Clark Kent is Clark Bent with the lowest job on the job tier as “assistant to the copy boy” (Mad). Bent’s boss is a kid who is very rude towards him. His life seems so terrible compared to Clark Kent’s fancy reporter job. In a span of 10 years, Bent has only made “a thousand dollars[, but he still wants] to make a down payment on that pearl necklace for Lois Pain” (Mad). Superman could just fight off oysters with his lasers and get those pearls for free. Lois is seen with prestige and does not need to make herself visible because she already is. Perhaps this is a look at how gender in Superman comics is not very equal. However, she is still seen mean and rude to Clark so perhaps how gender equality has not changed. Whoa, when Clark Dent is Superduperman, he looks completely different which makes him impossible to be tracked back to Clark Dent, but Superman looks exactly like Clark Kent without glasses. Perhaps the writers of Mad are trying to show how ridiculous it is that the characters within in the comics are oblivious to the fact that Clark Kent is Superman. Thank you very much for reading!
-Nguyen, Alina Superman: “The Origin of Superman” has a great cover! Wayne Boring’s usage of blank space is fantastic. Also, the scroll on the cover gives the reader an idea of what the issue is about. However, Superman is holding his head as though he is embarrassed or even afraid of what might happen if people know too much about his origins. Further, the word choice of “exploits” in the scroll has a bad connotation because usually exploiting someone is not a good thing. It is incredible that children of Krypton should know Calculus by third grade! Technically, Clark’s powers are not really superhuman because everyone on his planet has the same abilities. However, on Earth it is completely different as one of the scientists remarked: “If our astro-calculations are correct, a Kryptonian, on planet Earth, could take a normal step and leap over its tallest building!” (Finger 59). The people on Krypton seem to be superheroes already with their costumes or just “normal” people. Perhaps their costumes are common attire. Superman’s biological father is Jor-El, “Krypton’s greatest scientist” (Finger 59). The costume that Jor-El dons is very cool and his logo is a circle instead of a triangle like Superman’s. Furthermore, all Kryptonians have different symbols and shapes on their uniform. I wish I knew what they symbolized! When Krypton was getting to its point of destruction, I thought Lara should have went with her son, however, she replies to her husband: “No, my husband…my place is here with you! But our son…let him have his chance for life!” (Finger 61). The idea of a patriarchal society is present in this comment as well as in the Action Comics with Lois Lane having to be second to men. Apparently, a small child on his own will be fine as long as he is a man. Additionally, the notion of alienation is displayed in this comic. For example, the people at the orphanage assumes that “He’ll disrupt [the] home … unless—that couple Mr. and Mrs. Kent! If [they] could push the adoption papers through quickly!” (Finger 64). They were so much more invested in keeping their place from being destroyed that they pretended to be good people. Thus, the alien baby is seen as a threat and must be rid of. Bill Finger’s Superman origins was a great way to see how Clark Kent became Superman. Clearly, he was heavily influenced by his father. His father’s last words to him were: “To fight those criminals best, you must hide your true identity! They must never know Clark Kent is a…Super-Man! Remember, because that’s what you are…a Superman!” (Finger 66). I wonder if Clark’s father did not tell him to do so would he. It is interesting that the reason why Clark has “A job as a reporter on a big newspaper [is for the purpose of being] in touch with those who may need [his] help!” (Finger 66). Therefore, connecting it with how Lois Lane actually wants to be a respected news reporter, but a guy who might not want to be a reporter if he was not Superman gets the best news stories because he is a man. In Action Comics No. 241 (Superman: “The Super-Key to Fort Superman!),”Superman is attacking oysters to get pearls to make Lois a necklace. The action in this issue is very different from the earliest issues as seen in The Chronicles of Superman. Superman’s fortress of solitude is unbelievable. He really does put his friends first, and it is kind of him to make things for each of them. I especially like the “‘Robot Detective’” that Superman made for Batman who he “trust[s] with all [his] secrets!” (Coleman 3). Superman is very efficient with his time but also paranoid to the point of making a wax statue of Clark. However, things get more interesting when someone has discovered his fortress. The story took a strange turn when the intruder was revealed to be Batman. However, it was a sweet story due to Superman and Batman’s mutual trust of one another. The best dialogue in the issue was Batman saying, “You may not recall it, but today is the anniversary of your arrival on Earth from the planet Krypton! I wondered for a long time what to get you as a gift! What can one get for a Superman? (Coleman 12). It is nice to know that Superman does have someone he does not have to hide from. In Superman No. 146, his real name is revealed on the cover! The other origin comic of Superman did not mention his birth name, Kal-El. This issue shows that Superman is getting popular with warnings of not selling it illegally, etc. Further, in this one the inhabitants of Krypton are seen in more non-costume clothes and only some with costumes. Therefore, perhaps Jor-El is a superhero due to being a scientific genius. The asterisk found on page four with a small origin of Supergirl is very interesting, which I have not seen in the previous comics. Also, it is so cool to know where Kryptonite came from: “[M]ighty Krypton exploded into green, radioactive fragments, later to be known as kryptonite!” (Binder 5). Again, the editor’s notes are great information nuggets that do not disrupt the flow of the storyline. Wow, in his one Superman’s first official costume was made by his mother. Moreover, he was introduced as Superboy first, which the earlier issues of Action Comics did not. In this issue, Clark suggests that his true identity be kept a secret in protection of his parents, one of the fundamental factors that make a superhero. According to Peter Coogan, “the identity a double one including a private civilian self distinct from the public heroic avatar” (Hatfield, Heer, and Worcester 3). Finally, Lana Lang is introduced! She was my favorite character on the show Smallville. In the comics she was white, but in the show she was mixed race Asian American. I always find it awesome when movies and shows cast people of color in roles meant for white people. It is unfortunate that that always causes controversy over people, but apparently it is fine when white people are cast for roles meant for people of color. My favorite panel in this issue was the cake slice in the glass jar because it symbolizes a piece of Superboy still in the lives of many who appreciated all that he has done for them. This issue reveals a Tootsie Roll ad, which continues to reveal the success of Superman! Further, with fans sending in various questions about the world of Superman. There is also an ad for Jimmy Olsen, Super Pets, and Lois Lane comics! I think the advertisements are getting a bit out of hand, but that is how the editors make more money. The comic Gifts from Your Elders! was really random but perhaps since a lot of children are reading these comics, the editors wanted to show them real life courtesies. I liked that the cover of Superman No. 149 says: “Featuring a great three-part imaginary novel…‘The Death of Superman!’” (Siegel). It is imaginary because there is no way Superman can die except in a special where the writers make something up that causes him to. The panels with the huge meteor are so good and Shuster’s art style looks better than ever. The flashbacks in cloud like panels are great. I loved the top that Lex Luthor designed. The friendship between Superman and Luthor reminds me of Clark and Lex’s early friendship in Smallville. For a moment, I was worried that Luthor would give up Superman instead of himself but he actually respects his friendship of Superman. Oh no, Luthor did not change and perhaps people cannot either. In Part III of “The Death of Superman,” his funeral is attended by many. For instance, Batman, Robin, Aquaman, Green Arrow, Wonder Woman, and The Flash are seen amongst the crowd. Of course, guests from other planets are seen as “weird alien beings” (Siegel 2). I particularly liked panel 5 on page 3 where Superman and his casket are not in color like the rest, which symbolizes death and decay. Whoa, Supergirl pretends to be Superman and catches the crooks off guard. Finally, Luthor will get what he deserves. Even after Superman has died “Justice has been done! Because of his crime, Luthor will remain a phantom for all eternity! Never again will he harm the world of men!” (Siegel 7). However, is justice really done with the idea of the men’s world? Gender equality is rarely shown within these comics.
Thank you very much for reading! -Nguyen, Alina The Silver Streak Comics offered a bit of origin from the first initial page of the comic, which was great to see the motivation that allows the Silver Streak to do what he does. He is described as “the fastest man imaginable” and that screams “The Flash!” It is surprising that this was published since The Flash was published a few months before. The first dialogue of issue No. 6 is already a bit stretched from Miss Standbox changing up his name every single time. This shows that she does not really care about how he identifies, but instead more interested in the “package” that he presents. His self becomes irrelevant but his gifts and what he covers himself with becomes the priority. The Silver Streak started off as a decent hero but then he says, “Not to appear nosey, but how did a pretty girl like you get in a mess like this??” (Johns 131). Here, The Silver Streak is surprised to see a female, and of course a “pretty” female being in a complicated situation. It seems as though every woman is supposed to be submissive and to not rebel. These comics usually depict women as helpless and dependent of men. However, he is gentlemanlike in that he views the woman as more important than the villain causing havoc who he vowed to defeat or at least try to. However, this can be interpreted as the Silver Streak allowing more destruction if he gets the girl in the end. The sequence on page 133 is so great in visual effects, which allows the panels to be even more action-packed. The notion of otherness is also presented in this comic. For example, the Doc says, “He’s gaining!! Plug ‘im!!—If that demon, catches us we’re sunk!!” (Johns 134). Again, the idea of someone who is different is always going to be seen as a threat. In the view of the villains, the heroes are villainous for trying to ruin their schemes. The Claw is hard to look at to the point where the editor felt the need to warn the reader beforehand with a note. The main characters are similar to Clark Kent and Lois Lane. Bart is not doing much with his life and Tonia is shaming him for doing so but she does not know that he is the Daredevil. Like Clark, Bart needs to keep that part of him separate. Like Lois, Tonia is harsh when it comes to Bart who wants to tell her but chooses not to. The Claw is a frightening villain and perhaps a precursor for “The 1961 Doctor Droom, Stan Lee’s first Marvel superhero, [who] gains his powers from another Tibetan lama. Kirby even gives Droom stereotypically slanted eyes and a Fu Manchu moustache as the lama explains: ‘I have transformed you! I have given you an appearance suitable to your new role!’” (Gavaler 111). Despite being a superhero, Doctor Droom is portrayed as the racial other. What role could that be? The role of assimilation and how perpetuating stereotypes continue to have connotations of otherness that cannot truly be dismissed. Further, one of The Claw’s henchmen has an Asian last name accompanied by an evil first name. There is irony in The Claw’s statement: “You, Sin-Lee would betray The Claw” (Cole 142). The Claw is saying what people who believe in maintaining a system of wealth, political, and economic power for the upper race would say. In another way, pitting people within a group against each other to keep them busy so that they cannot rebel. Now, on page 144, The Claw yells, “DEATH TO AMERICA!” (Gavaler 144) in “Asian” font. The Claw is an image of how Westerners viewed Asian people as the yellow peril. The panels on page 145 are very different from the previous comics. The first five are almost character cards in a board game and the banner running across is very visual and adds a touch to the aesthetics of the comic. Moreover, even The Daredevil’s two-tone costume is great. He is even featured in the back of Supermen! The transitions from one place to another is strange yet interesting because it becomes more dynamic. Even the color palette changes, which gives off the different tensions that lighting offers. Captain America Case No. 1 is in some ways propaganda because it leads to show how joining the military will give one undeniable strength. Moreover, the comic starts off strong, presenting a vivid color palette on its first page. There was also a panel of a half circle and the President was speaking to the reader. Furthermore, the close-up of the President’s face and the interaction with the reader is always an awesome surprise. Additionally, what was interesting was that the crucial moment where Steve Rogers is going to get injected was so important, yet it was only a small circle panel in the middle of two large rectangular ones. Phantom Lady was not what I was hoping for because I was hoping for a female superhero with all the qualities that male superheroes seem to possess. Although, her black flash was really cool, she drops it and it kind of goes downhill on that page. Also, it seems as though she is ready to admit defeat when the crooks remarked, “This is the end of you, Phantom Lady!” (Page 7). Here, shows the patriarchal hierarchy of society, in this case, women are seen as most likely to be the first ones to die. It really bothered me that she replied, “I wouldn’t be surprised!” (Page 7). It is sad that she can predict her possible demise. Finally, at the end she finally shows the men viewing her as a mere female that she is capable of defending herself.
Imperialism is similar to colonialism in a sense that one country believes that it is just to take over another due to its military aggression. In this case, it can relate to the complexity between the superhero and the civilian identity. In some ways, the superhero genre is exploiting the idea of otherness in order to separate the superhero and the “regular” civilian. For example, Galaver says, “The superhero absorbs elements of the racial other, disturbing but not overthrowing the imperial binary as a dual identity character who uses otherness to maintain the empire” (Gavaler 108). Another important point that Chris Gavaler makes in “The Imperial Superhero” is that “As Richard Reynolds observes of the superhero character type, ‘His costume marks him out as a proponent of change and exoticism,’ but because of his split self he ‘is both the exotic and the agent of order which brings the exotic to book’ (1992, 83)” (Gavaler 108). The whole notion of people being exotic is dehumanizing because people are then viewed was objects. Thank you very much for reading! -Nguyen, Alina I grew up in an era where words were always accompanied by images. I think comic books encompasses just that. Coogan believes that comics can allow for the strange to be celebrated. For example, he says, “In comics, everything—whether a building or a talking tiger—can have the same level of surface realism” (Coogan 9). The first comic in Supermen! is Dr. Mystic: The Occult Detective, which already depicts Jerome Siegel and Joe Shuster’s interest in superheroes. In this sketched comic of only two pages, shows Siegel’s ability to tell an interesting story and Shuster’s drawing skills. However, it is very rushed but the ending stirs up that same excitement for what is going to happen in the next issue. Unlike Superman, The Clock in Funny Picture Stories’ “Murder by Proxy” kind of had a similar outfit and mask to Kato from The Green Hornet. He has a heroic quality but he also steals. Thus, there is a question of ethics being presented in this comic. The best panels were on page 20 with the more immoral guy getting shot by a trap he initially intended for The Clock. Perhaps the stealing and giving the money to the poor is in some ways justifiable because he did not try to kill someone else. Moving on, Dan Hastings has a lot of vivid colors and the typography is very bold. Lieutenant Hastings’ costume is more superhero-like if in comparison with a form of removal from society once their super suit is on. However, in this case the Lieutenant is very much a part of a society that does not view him as strange. Now, The Flame was a bit bizarre and obscure with the “Kikoos.” I enjoy the comic as it had a lot of panels that were action focused. For instance, on page 36 where The Flame shows up and takes out the creatures reigning terror. Also, despite being outnumbered, he puts other people before himself with “[daring] not [to] use his gun for fear of injuring the police” (Derold 36), which is usually what a superhero does. Further, the panels for the beatings and The Flame being hanged is well done with only showing only his silhouette because the hero should never be seen hurt in vibrancy. Whoa, a woman saves The Flame! This is so refreshing from Lois Lane always having to be saved by Superman. However, she would not accept The Flame’s gratitude but instead reverts it onto him when he did not really do anything for her, which can be seen as still showing how women are supposed to lift the man up. Yarko: The Great Master of Magic was really interesting because it was different from the storylines that have been pretty common so far in this collection. Yarko actually goes to the underworld and confronts Death in order to save someone’s life. Oh no, in Rex Dexter of Mars: Interplanetary Adventurer, Rex already regards the woman as an “‘earthly prize’” (Briefer 51). There is barely any respect for women in these issues and that again can show the way women are viewed in society, only there to please men. Additionally, The Comet can be the precursor of Cyclops with his eyes producing “death sprouts” (Novick 80). Big Shot Comics definitely stands apart from the previous comics because the artists used halftones throughout. I particularly enjoyed them on the character’s faces. Furthermore, Skyman’s costume is very cool and kind of resembles Superman’s colors but differ in design. This would not be recognizable if it were only written without an image as Coogan states, “A costume, no matter how well described, cannot appear as striking when described in words as when it appears in pictures” (Coogan 9). I think what lacked in these comics was interactions with people that comes with the violence and heroicness. Perhaps they were too new to be as developed as Superman. Personally, I love the origin story and I think that is what was missing from the issues to page 124 of Supermen!. There were some but they were fairly short like the one Siegel and Shuster gave Superman. The editors of The Superheroes Reader made it clear when they said that “If not a prerequisite for the superhero genre, the origin story is certainly a prominent and popular trope that recurs so frequently as to offer clues to the nature of this narrative tradition” (Hatfield, Heer, and Worcester 3). The superhero genre is intense and profound because it “is about transformation, about identity, about difference, and about the tension between psychological rigidity and a flexible and fluid sense of human nature” (Hatfield, Heer, and Worcester 3). Further, the editors wrapped up what a superhero entails, according to “Coogan, the superhero is defined by three core constituent elements: mission, powers, and identity” (Hatfield, Heer, and Worcester 3). These elements are seen throughout superheroes in the past and contemporary ones. However, most of these heroes are “follow[ing] the dictates for success in formula, balancing convention and invention to create successful, popular, and archetypal stories and characters” (Coogan 13). Coogan believes that comics are an art form that can allow for the strange to be celebrated. For example, he says, “In comics, everything—whether a building or a talking tiger—can have the same level of surface realism” (Coogan 9). In “The Great Comic Book Heroes,” Jules Feiffer revealed that “The work was relentless. Some men worked in bullpens during the day free-lanced at night—a hard job to quit work at five-thirty, go home and freelance till four in the morning, get up at eight and go to a job” (Feiffer 31). Here, shows how unstable writing and drawing comics was during that time. Now, it is most likely the most sought after job for illustrators. Even though some people did not care for it when things got hard in the comic book industry, he thought it was “the birth of a new art form!” (Feiffer 32). It is interesting to see how comics started to get publish and Chapter 1 & 2 of Of Comics and Men shows the reader just how it began. It is unfortunate that the “collecting of humorous illustrations” (Gabilliet 5) eventually lead to the creation of “The Yellow Kid,” which I cannot help but think is a stereotypical representation of Asian people.
To think that a pamphlet with some comics would eventually change American culture forever. I cannot believe that “By the middle of 1936, [only] eight comic books appeared regularly” (Gabilliet 12). Now, there are tons of titles to choose from that comic book shops have to order lower quantities due to too many books coming out. It kind of feels good to know that “The first themed comic book was Detective Picture Stories #1 (December 1936) published by Comics Magazine Company in the fall of 1936. As the tittle announced, it offered crime and detective narratives and thus broke with the heterogeneity that had characterized the contents of comic books since 1933” (Gabilliet 15). The progression of comic books is shocking but amazing. Thank you very much for reading! -Nguyen, Alina Action Comics No. 10 is probably the most intense so far in the first issues of Superman. Perhaps this is when Siegel starts getting into more social and moral issues within his work. One of the chain gang members warned another member yelling, “Shut up, you fool! — If you dare to open your mouth, Wyman will kill you, not quickly, but thru a slow, lingering torture!” (Siegel 128). This can relate to groups of people of have been marginalize for so long. Even though these people are criminals, the comparison can be made through the fear of speaking up to the people in “charge.” Even Clark Kent needs to “obey” to Wyman’s uncomfortable interrogation because he needs to preserve his identity as Superman. In this issue, Clark is finally getting to be more in charge of himself and his actions. For instance, he tells the editor that he is “risking everyone’s scorn - - but only because [he] want[s] to make Wyman so overconfident, he’ll hasten his own finish!” (Siegel 131). In issue No. 11, Superman gets even more intense in his actions and the way he handles situations in order to make the evildoers suffer. Honestly, one of the panels on the last page was a bit alarming. The art was bolder with Superman holding up the torch in his hand and yelling “Back! Back for your lives! – Run if you don’t want to be burned to a crisp!” (Siegel 152). Moving on, the cover on No. 12 is fantastic and finally has an advertisement for Superman! Wow, this issue is very excessive. However, it always seems at the end that his plans work, but in reality this would be outrageous! Further, one of my favorite parts of this issue is the use of panels without text. I think there are some action scenes that just need to have its own moment of distinction. Yes, an ad for THE BATMAN! After reading “Batman and Robin visit the 1940 New York World’s Fair,” I could not wait to read Superman’s appearance in New York World’s Fair Comics! I know Clark loves Lois but his comment on how “Lois Lane should accompany [him] to cover the —er— feminine viewpoint” (Siegel 170) did not sit well with me. He is using her gender as a way to get the editor to agree to let her come along. Perhaps the editor thinks that it would make the report stronger, which is a good thing but Clark is just using it as a way to indirectly ask her out again. I think I enjoyed the dialogue between Batman and Robin more because it offers something different than just having Clark speak to his editor, the crooks, and Lois. Perhaps a friend that Clark lacks in these comics, which is another commentary on otherness. In Action Comics No. 13, there was a death that Superman was heavily involved in. However, he only regarded the demise as well-deserved. Whoa, Superman’s first official villain appears! The panel where The Ultra-Humanite knows that it is “[unfortunate] for mankind [that he] prefer[s] to use [his] great intellect for crime” (Siegel 190) is so powerful because he knows that he can be using his powers for good but deliberately chooses not to. I really liked the last panel on the news that Superman is getting his own comic book title! I really enjoyed the Superman title and think that the art is exceptional. I love seeing the Shuster’s progress from Action Comic No. 1 to this issue. I am glad that these pages were made because it was far more interesting than going to the governor right away with the signed confession. In the “Introduction” of The Superheroes Reader, the editors make a great point stating that:
[S]cholars may take a serious interest in superheroes for reasons unconnected to aesthetic interest in comics. Such a position may now be a minority one, but both academics and public intellectuals … have taken superheroes seriously without taking seriously the idea that comics can be art. Their interest in superheroes grew out of social and moral concerns, as did much of the early academic criticism of comics generally (Hatfield, Heer, and Worcester XIV). Comic books can show the way in which society views certain ethnic groups. Therefore, it is important in the research of comics to go beyond art for art’s sake because it can reveal the ways in which people of color are presented over time. For example, the cover of Detective Comics No. 1 shows the Asian stereotype of the “Fu Manchu,” which signifies that Asians are a “threat” to society. In Gerard Jones’ “Men of Tomorrow,” what Jones calls as “a drunken disaster of a novel, dumbest at its most intellectually ambitious and emptiest at its most passionate, in the end lurching wildly into a lamppost of self-pitying nonsense” (Jones 17), ended up being an inspiration for Siegel and Shuster to create one of the most successful superheroes of all time. Here, shows that something that can be seen as trivial to some can be the starting point of something much greater than themselves. Even the creators got inspiration elsewhere. It seems as though Superman is just carved out of Hugo Danner with their similar origin stories, however; Danner “is described as being ‘extremely dark of hair, of eyes and skin’” (Worcester 28). Superman might have dark hair but that is it, therefore, he is made to look like a “normal” American. Again, the idea of the other is very important in stories like these because as Worester says, “Danner spends the rest of the novel [Gladiator] trying to find a way of adapting his powers to the needs of society” (Worcester 28). He is so desperate to fit-in a society that would ultimately alienate him that he becomes somewhat obsess with making himself seem trustworthy. Superman as Clark Kent can be seen as his true self because he needs to keep that at the core of who he is. Superman is just a quality of himself but not the one in complete control even though the comics show him constantly exploiting his powers. Philip Wylie’s Gladiator section in The Superhero Reader was interesting and the quote that I enjoy is: “He had failed his father, failed his trust, failed the world; and in the abyss of that grief he could catch no sight of promise or hope” (Wylie 29). Again, he was so invested in being a part of society that in the end it might have ruined him. Thank you very much for reading! -Nguyen, Alina A foreigner would automatically be seen as a threat. Perhaps looking at orientalism and war, one of the pillars of white supremacy, can show the tension between always being viewed as an outsider and a target if something goes awry. The idea that viewing outsiders as always different will justify the government’s actions in regards to reign war on someone that will forever be seen as the other. In The Superman Chronicles, issue No. 1 of Action Comics, the governor shouts, “Gentlemen, I still can’t believe my senses! He’s not human! — Thank heaven he’s apparently on the side of law and order!,” which kind of shows how if it benefits the person of privilege, then it is acceptable. However, the distinction is made that he is clearly not human can be seen as the otherness always attached to the different. Therefore, Superman becoming Clark Kent when he wears civilian clothes can be seen as assimilation in that he’s trying to fit in a space where he initially is alienated from. Further, Clark’s constant fear of speaking out loud can show the silence that people who have been marginalized for so long feel. His interior monologues are so much more astonishing, however; he cannot say them aloud in order to protect the life that allows him to live a “normal” life. In Action Comics No. 2, Alex Greer warns Norvell states, “I can’t explain over the phone, Norvell, but you’re about to receive a visit from the most dangerous man alive!” (Siegel 18). He uses a human term but also describes Superman as a threat. Despite witnessing Superman flying and doing unordinary things he still refers to him as a human. Therefore, he is not scared of Superman’s powers but he fears the reality that a person can do such things. The immoral people that Superman encounters in the comic relieve themselves of feeling weak and small by vilifying him. For instance, Norvell contemplates, “If I could only do something! — But it’s suicide to resist that inhuman creature!” (Siegel 22). He desperately needs to be better than Superman because he needs to be on top of the social and power hierarchy. After Superman demands Norvell into the Army, one of the soldiers of the San Monte Army says to Norvell, “I see! When it’s your own life that’s at stake, your viewpoint changes!” (Siegel 23), which is so powerful because most of these horrible people solely heighten their own well-being. Moreover, it is worth noting that even a character with a small role can have more of an impact than a character who shows up for a few pages or throughout the comic. Some of the most important parts of these first few issues of Action Comics are the ones with Lois Lane and her struggle to be considered as a worthy journalist due to her gender. For example, in Action Comics Issue No. 5 she asks the editor, “But why not have me handle the assignment?” and getting the answer “Can’t! It’s too important!—This is no job for a girl” (Siegel 61). This is important to recognize because she sees potential in herself and a woman worthy of big stories. As seen throughout the first few issues she is someone with the ability to stand up for herself something even Superman lacks as Clark Kent. Moreover, she is not ignorant and actually wants to understand Superman, asking him and even later admitting to be afraid him, “What manner of being are you?” (Siegel 27). She is also seen as determined to make her mark, which is brave and bold considering the conditions and preconceptions of women by men during that time. Reading these particular comics can transcend its readers. Even the little things, like the number presented drawn on each panel. Additionally, on the last page of Action Comics No. 1 the final panel is also numbered despite the previous one saying, “To be continued” (Siegel 16), which I thought was interesting since some of the other issues do not. Additionally, the cross-hatching treatment that Shuster gave the artwork and simple shadow technique he does is fantastic. Furthermore, seeing the change in typography from the first 5 issues to issue No. 6 was refreshing. Issue No. 7 is more visceral in terms of story-line because Superman was willing to risk exposing himself further in order to help Jordan out with his circus. Also, the “S” on his chest was not colored red, which can be another quality of Superman’s dual-identity. Finally, at the end of the issue, he stands up for himself as Clark Kent, an important moment where he is not even in the panel. Moving on, in The Superhero Reader, Richard Reynolds’ “Masked Heroes” is a great essay that lays out the different characteristics of a superhero and how that has been carried to other archetypal heroes throughout comic book history. Another interesting point is that: The Clark/Superman duality needs a constant supply of new dramatic situations to reveal new facets of the hero’s split personality. The explicit reasons given within the story—such as ‘they could use my friends to get at me,’ reasons which have become common throughout the genre and do not need to be spelt out when establishing a new character—are only secondary to the structural need for characters to have secret identities (Reynolds 105). This aspect is still a huge part of contemporary superheroes. The secret identity is important to protect people that they care about, but some show that it is necessary to have people that they can trust. Although, in that trust comes the almost unavoidable possibility of death for those people. Reynolds says, “Turning some of these laws [of the superhero] on their heads … would give us a good working definition of the superhero’s opponent, the supervillain” (Reynolds 107). I believe the origins of some supervillains can be just as interesting as the superheroes because there is always a reason to why these superheroes and villains become who they are. I enjoyed Reynold’s inclusion of how Gotham City came to be: [Bill Finger] flipped through the phone book and spotted the name Gotham Jewelers and said, ‘That’s it, Gotham City.’ We didn’t call it New York because we wanted anybody in any city to identify with it. Of course, Gotham is another name for New York (Bill Finger). I think Finger’s intent for anyone to feel connected to the city is powerful. Perhaps that in some way made Batman comics so popular because readers can see themselves in Batman or as an inhabitant of Gotham City. Now, I read “Batman and Robin visit the 1940 New York World’s Fair” before reading Reynold’s essay and remember commenting to myself the circular panel on page, which I found very interesting. Reynolds says, “Kane’s art signals moments of moral decision very precisely, often by the use of a circular panel framing the character or the character’s head” (Reynolds 113), which is such a great technique which catches the reader’s attention. Further, I loved the interaction with the reader at the end with Batman and Robin. Thank you very much for reading!
-Nguyen, Alina |