Setting the Stage
The people of the United States of America have always had a special place in their collective hearts for idolization, hero worship, and obsessive fandom. Ever since print and radio communications allowed us to look outside our daily lives and into the public consciousness for curiosities and entertainment, we have been captivated by larger than life feats of bravery, heroism, and wonderment. Americans have often looked for entertainment and inspiration from all forms of contemporary media, from musicians and actors to athletes and politicians. That said, the genre that seems to have inspired the most wonderment and imagination throughout the years has been the peculiar concept of superheroes... specifically those of “The Golden Age.” The icons of this era of printed cartoons have endured for generations, captivating audiences across all mediums for the greater part of a century. Ask a preteen to describe his feelings on Dwight D. Eisenhower, and you are likely to be faced with apathy or confusion. Ask that child's grandfather how he feels about the music of modern rap artist Drake, and you can expect a similar reaction. Ask them both how they feel about Batman, and the cross-generational appeal and importance of these timeless characters becomes undeniably apparent. Superheroes are a uniquely American phenomenon that can shape the minds and dreams of their audience, while at the same time be an uncanny reflection of the issues and concerns of a generation of Americans. This almost romantic link between fantasy fiction and social commentary has had an undeniable impact on the cultural history of the United States of America.
“The Golden Age” of comic book superheroes is a term often used to describe the infancy of the genre of caped crusaders. It is most often pinned down as the period of time roughly spanning between the 1930s and the 1950s[1]. Before this period, comic books had a very different feel and perception than the common connotations we expect of the genre today. They were often relatively simplistic, occasionally dramatic, and undeniably marketed towards young children. They were basically an expansion on what you would find in modern “funny pages” of your local Sunday newspaper, or inside a package of Bazooka Joe bubblegum. Today, when we think of comics, our minds go immediately to the clichéd tropes of a caped crusader swooping in to save the damsel in distress, and ultimately the entire world, in the most dramatic way possible, with liberal use of snarky one-liners along the way. That all came to fruition during The Golden Age, when heroes such as Superman, Batman, Captain America, and Wonder Woman captured the minds and hearts of faithful followers from coast to coast, sparking a love affair that would last for generations and beyond.
The Birth of a Superman
The world's first superhero, the character perhaps most synonymous with good, valor, and justice, has a relatively surprising genesis. In the period of American history before super gifted heroes and heroines, there was no precedent set for any of the familiar tropes of cosmic saviors. In fact, when Superman was first created in the early 1930s, he was the Earth's greatest threat, rather than its greatest protector[2]. Originally conceived as a follically-challenged alien life form of superior intellect, bent on the destruction of worlds, Superman would be re-invented as a familiar classically handsome caped icon, with physical attributes beyond compare.
His creators, Jerry Siegel and Joe Shuster, drew inspiration from countless sources when laying the groundwork for their Superman[3]. His name and appearance were inspired by the leading men of the silver screen of the 1930s. His monumentally heroic actions were inspired by ancient hero epics, like Hercules and Beowulf. His costume, by carnival sideshow muscle-men, with a colorful and fantastic twist. They intended to make Superman as iconic and recognizable as possible, and it would be hard to argue that they didn't hit a home run. Even his cape, as seemingly obscure, gaudy, and out of place as it logically is, became standard attire for so many characters that followed in his massive footsteps.
Greatly influenced by the liberal politics of Siegel and Shuster, Superman became a warrior for social reform and progress. His early foes were corrupt politicians, greedy businessmen, and racial or social prejudices. Superman has also been credited as being a beacon for the Jewish community[4]. Invented and shaped by left-leaning liberals, Superman was very much a reflection of his creators. Noted Rabbi Simcha Weinstein has also drawn some stark parallels between the narrative of Superman and that of Moses[5]. In a very real way, Superman simultaneously became an inspirational focal point for countless young Jewish Americans, while also making their story almost covertly relatable to the rest of the population that was simply looking for a fantastic distraction from reality.
The Heroic Big Bang
While Superman absolutely had the staying power to become the be-all end-all of the superhero genre, he was only just the spark that ignited a veritable “Big Bang” of comic icon creation. Superman's publishers were quick to produce other caped heroes after the massive success of their Superman investment. Perhaps equally as iconic as Superman was the creation of Batman. Where Superman represented everything fantastical, out-of-this-world, and mythical, Batman was the complete opposite. He was simply a regular mortal human being; a wealthy man-about-town with a dark past, who took it upon himself to fight the evil of his hometown of Gotham. The success of such diametrically different origins of heroes went a long way in proving that there was a very real market for these superhero stories. It showed that the sky was the limit when it came to creativity of back stories and identities. Superman, a bright and colorful super-humanoid from another planet, and Batman, a dark and complicated mortal from the urban night, would go on to become the yin and yang of DC's comic book empire, but they would soon be joined by even more sustaining icons of the industry.
Batman and Superman were complemented by the likes of Captain Marvel, Aquaman, Wonder Woman, and The Flash. Each of these characters had unique identities and powers. Whether they could communicate with marine life, or move faster than the speed of sound, there was always another idea finding its way from concept to print in the rapidly expanding world of comic book superheroes. As DC continued to expand its roster, the market for superhero comic publications grew to the point of rival companies springing up to meet the demand. Marvel Comics would benefit the most from this expanding marketplace. Under the success of titles like Captain America, Marvel would build a rival empire of their own, sparking a war that has raged between the two companies for decades.
For every Superman, Captain America, and Batman, The Golden Age of Comics had dozens of failed and forgotten creations that simply didn't have the staying power or popularity of the seemingly immortal heavy hitters of the comic domain. In a genre that is filled with a cornucopia of copycats, even in modern times, it should come as no surprise that there were countless heroes created in The Golden Age that seem to directly rip off their more famous counterparts. Some even seemed to simultaneously draw from two different sources of inspiration. While DC had their Superman, a practically invincible protector of social welfare, and Marvel had their Captain America, who stood for justice, equality, and the American way of life, a company called Ace Comics had Captain Courageous[6]. Like Superman, Captain Courageous was a super-strong, flying, bulletproof, man of steel. Like Captain America, he was fiercely patriotic, clad in stars and stripes, and militaristic in theme.
The opening montage in his third (and final) appearance of his inaugural run reads as a cross between Superman's political activism, and Captain America's patriotic determination. “Fear... Yes, the fear of death was the striking threat the dread Black Mayor used to hold his victims at bay and force them to pay tribute in cold cash. But then suddenly... Captain Courageous, that dynamic symbol of American fearlessness crosses his path... a path that must lead one to victory and the other... to DEATH![7](sic)” Despite these similarities, or perhaps because of them, Captain Courageous would only see limited publication, and then fade into the public domain as a faint memory. He was not alone in that fate. Spark Comics, and their Atoman, Youthful Magazine's Captain Science, and Ajax's Black Cobra were all eventually lost in the shuffle of Golden Age creations[8]. Marvel Comics was lucky enough to have their legacy cemented in this era, however. They would not only eventually survive, but thrive.
Marvel vs DC
The Golden Age of comic books saw the birth of countless legendary superheroes and super villains, who would fight it out in the pages of colorful sheets of paper across the nation. At the same time, real life publishing heavyweights, DC and Marvel Comics would be trading blows at the newsstand, fighting for more share of the always growing market for their publications. It wasn't always such an even rivalry, however. It took multiple rebrandings and failed series for what was originally called Timely Publications to transform into the modern Marvel empire. Timely Publications, with the wildly successful Captain America franchise, was the birthplace of other notable successes. Future Fantastic Four icon The Human Torch, and future Avenger, Namor, The Submariner, were some of the more enduring creations of the Timely Publications era of Marvel's history.
Despite these successful books, both DC and Marvel began to see superhero comic books falling out of fashion after World War II, with western, comedic, and romance publications drawing a much larger share of the market. It wasn't until the late 1950s that DC would revive America's interest in superheroes with the creation of their Justice League series, which would feature a team of Superman, Batman, Aquaman, and Wonder Woman in one series. Seeing this revival of sorts, the legendary Stan Lee of Marvel Comics would attempt to bring Marvel back in to the forefront of superhero publication. Reviving the old Human Torch creation from the Timely Publications era of the company, Lee established The Fantastic Four series, matching the “team” dynamic established by DC's Justice League.
This back and forth of following trends set by their rival company is the cornerstone of the rivalry between Marvel and DC. DC has success with a superhero team in Justice League, so Marvel responds with The Fantastic Four and The Avengers. Marvel has success with a more human, even soap-opera style, dramatic approach to superhero interactions, and DC responds by taking a more serious and mature tone with their dialogue[9]. These two companies that inspire such animosity between their two fan bases have been falling over one another to be just like their rival.
They say that imitation is the sincerest form of flattery, and if that is true, then these two companies must both be constantly blushing in gratitude. In the realm of aquatic heroes that rule the seas, Marvel has Namor, while DC has Aquaman. The Justice League has an archer named The Green Arrow. The Avengers have an archer named Hawkeye. Marvel and DC both have “doctors” that practice black magic, in Doctor Strange and Doctor Fate, respectively. There are countless similarities between Captain America's sidekick, Bucky Barnes, and Batman's sidekick, Dick Grayson. They both matured beyond sidekick to become their own superhero series, as well, in The Winter Soldier and Nightwing. Perhaps the most obvious and blatant example of the ubiquity of copycats between these two comic universes is between DC's Deathstroke and Marvel's Deadpool. Both are heavily armed mercenary anti-heroes that wear red and black outfits, carrying swords, explosives, and guns. Both are willing to take lives to further their cause, with negotiable moral compasses. The similarities go from eerie to downright ridiculous when you consider their alter ego identities. Deathstroke's real name is Slade Wilson, while Deadpool is known as Wade Wilson! Despite all of the obvious tributes and references between publishers, the rivalry continues to burn to the present day.
The Evil Within the Books
No great comic book story would be complete, without an appearance from the antithesis of the superhero, the super villain. As stated above, early superhero comic books dealt primarily with the concepts of these more-than-human crusaders swooping in to rescue us from the evils of this earth. They often fought corrupted politicians, mafia bosses, street thugs, or in the case of Captain America, real-life villains like Adolf Hitler[10]. When telling stories of fantasy worlds where men can fly, shoot lasers out of their eyes, lift freight trains with their bare hands, and fly to other galaxies, the mind naturally wanders back to where Jerry Siegel and Joe Shuster originally went with their Superman creation. What happens when one of these amazingly gifted Gods among men decides to victimize us innocent mortals, rather than protect them? Thus was born the super villain. DC's Batman series produced some of the most iconic bad guys in the history of all media, with such overarching popularity that they have even made movies dedicated only to telling their stories. The Penguin and The Riddler were some of the focal points of the early Batman comic books, and played prominent roles in the famous television series, starring Adam West. Batman's biggest foe, and perhaps the most famous super villain in the genre, is The Joker.
Marvel's X-Men series threw a complicated wrench into the concept of super villains, while weaving enthralling story lines that draw parallels to the American civil rights movement[11]. In X-Men, there is a team of human mutants that are guided by a paralyzed telepath named Charles Xavier. While fighting crime and protecting the Earth is on the X-Men agenda, they also face prejudices and suspicion from the population they are sworn to protect. Fearful mortals try to enact concentration camps, legislation against using super powers, and strict anti-mutant laws to keep these superheroes in check, while the X-Men peacefully fight for acceptance and rights equal to the humans that are so quick to shun them. On the other side of the same coin, the X-Men have to battle super villains like Magneto, and his team of mutants, who have much different ideology as to how to gain acceptance in society. They see themselves as the next step in human evolution, and rightfully at the top of the proverbial food chain of life. If humans want to discriminate against mutants, then Magneto feels justified in gaining acceptance and dominance by force.
The themes of civil rights, prejudice, and social unrest can be read as a direct reference to the American civil rights movement. Charles Xavier and his X-Men could arguably be linked to the ideology of Martin Luther King Jr., with his messages of peaceful resistance and hope for a better tomorrow. On the other hand, Magneto's hard line stance against discrimination, and willingness to use force to further the social standing of his people could be easily compared to that of the Black Panther party, or, ironically, Malcolm X[12]. Comic books have a way of mimicking the lives of the readers, in ways that may not seem immediately apparent, especially to younger readership. Sometimes it is blatant and direct, other times it is subtle and artful. Captain America captured the imaginations of patriots across the nation when he went to war with Hitler and the Axis Powers, and continued to fight against fascism and Nazis in the form of The Red Skull and Hydra. This was especially important during the war effort, when so many kids and teenagers were left at home while their male role models were overseas... seemingly fighting alongside Captain America, in the minds of young Americans.
Art Affecting Life
While it is obvious that comic books maintained their popularity through The Golden Age and beyond by reflecting the concerns, narratives, and headlines of the real world, they were not above the idea of turning the tables a bit, and trying to dictate morals and opinions on their readers at the same time. For every panel of Captain America winning the hearts of readers by capturing and incapacitating a Nazi soldier, there is another filled with hateful and racist stereotypes towards Japanese soliders[13]. Captain America became a symbol for one of the most influential propaganda campaigns in American military history. While fighting the Axis powers, Captain America convinced many young Americans of the importance of purchasing War Bonds, and watching out for those who may not be out to help the cause of the Allied Forces. Today, the United States military is known for aggressively using propaganda in entertainment, to recruit future soldiers into their ranks through public displays at sporting events[14]. In the Golden Age of comics, it was Captain America and Bucky Barnes shaping the minds of future soldiers.
The comic book industry also attempted to self-legislate morality towards the masses. In lieu of an FCC-style censorship of published comic book materials or federal intervention, the comic book industry agreed to abide by their own code of conduct in 1954. This makeshift code of conduct was dubbed the “Comics Code Authority.” It dealt primarily with what could and could not published in comic books. It censored inappropriate language from young and impressionable readers, and also kept overly mature themes out of the comic books of the era[15]. Publishers that abided by the code would submit their work to the Comics Code Authority well in advance of their publication. It would then be critiqued and potentially approved. Once approved, the publishers were given the green light to publish their book, with a special emblem on the front cover, listing them as approved. Parents would look for that emblem when purchasing comic books for their children, resting assured that they wouldn't be filling their children's minds with anything they wouldn't approve of. Most major publishers continued to voluntarily abide by the Comics Code Authority up until the turn of the century. Marvel stopped in 2001. The final hold out to abandon the Code was DC, who used it up until 2011.
A Golden Legacy
The Golden Age of comic books is more than just a nostalgic era of entertainment for a select few who happened to be around to read the issues when they were originally printed. The importance and impact of this era isn't even confined exclusively to people who read comic books at all. The characters of The Golden Age of comic books have transcended the pages of print media altogether. Both Marvel and DC have licensed monumental movie empires for their most popular characters. There have been countless movie adaptations of both Superman and Batman, in every era of the silver screen. Marvel recently took center stage by producing their own cinematic universe around many of The Avengers, with Captain America square in the middle of the action. There are even wildly popular broadcast television series based around both the DC and Marvel universes, such as Gotham, Daredevil, The Flash, and Agents of S.H.I.E.L.D.
Comic book superheroes have become so ubiquitous and ingrained in the consciousness of the American public, that their symbolism have seeped into just about every aspect of popular culture. Legendary basketball star, Shaquille O'Neal, prominently displayed Superman's emblem on his bicep as he was winning multiple NBA titles on national television. Carolina Panthers quarterback, Cam Newton, is known to mimic Clark Kent ripping his shirt open to display that same Superman emblem every time he scores a touchdown. Jack Campbell, a goaltender for the Dallas Stars in the NHL, has been known to wear Captain America themed paint jobs on his goalie mask during international competitions.
What has always been known as a somewhat geeky hobby of comic book collecting has slowly found its way, ironically, into the world of jocks and professional athletes. Even episodes of Seinfeld, one of the most successful and celebrated sitcoms in history, is riddled with references to the DC comic characters of The Golden Age. While comic book characters come from all walks of life, spanning the entire globe, and even into outer space, the phenomenon of superhero obsession is a distinctly American concept. Comic book characters are as much a part of the American experience as any other form of American media, with their humble roots of The Golden Age at the very core.
Bibliography
Benton, Mike. Superhero Comics of the Golden Age: The Illustrated History. Dallas: Taylor Pub., 1992.
Boren, Cindy. "Report: At Least 50 Teams Were Paid by Department of Defense for Patriotic Displays." The Washington Post, November 4, 2015. Accessed December 4, 2015. https://www.washingtonpost.com/news/early-lead/wp/2015/11/04/report-at-least-50-teams- were-paid-by-department-of-defense-for-patriotic-displays/.
"Captain Courageous." Comic Book DB. Accessed December 1, 2015. http://comicbookdb.com/character.php?ID=18692.
Simon, Joe. Captain America Comics. No. 1. New York: Timely Publications, 1941.
Captain Courageous Comics. No. 6. Chicago: Ace Magazines, Periodical House, 1942.
Daniels, Les. Superman: The Complete History. London: Titan, 1998.
Fago, Vincent. Captain America Comics. No. 39. New York: Timely Publications, 1944.
Kaplan, Arie. From Krakow to Krypton, Jews and Comic Books. Philadelphia: Jewish Publication Society, 2008.
Superheroes: A Never-Ending Battle. Performed by Liev Schreiber, Stan Lee, Adam West. PBS. Film.
"The Comics Code Authority." ComicArtVille Library. Accessed December 8, 2015. http://www.comicartville.com/comicscode.htm.
"The Digital Comic Museum - Free and Public Domain Comic Books." The Digital Comic Museum - Free and Public Domain Comic Books. Accessed November 5, 2015. http://digitalcomicmuseum.com/
Weinstein, Simcha. Up, Up, and Oy Vey! Baltimore: Leviathan Press, 2006.
[1] Benton, Mike. Superhero Comics of the Golden Age: The Illustrated History. Dallas: Taylor Pub., 1992.
[2] Daniels, Les. Superman: The Complete History. London: Titan, 1998: 13.
[3] Daniels, 18.
[4] Kaplan, Arie. From Krakow to Krypton, Jews and Comic Books. Philadelphia: Jewish Publication Society, 2008.
[5] Weinstein, Simcha. Up, Up, and Oy Vey! Baltimore: Leviathan Press, 2006.
[6] "Captain Courageous." Comic Book DB. Accessed December 1, 2015.
[7] Captain Courageous Comics. No. 6. Chicago: Ace Magazines, Periodical House, 1942: 1.
[8] "The Digital Comic Museum - Free and Public Domain Comic Books." The Digital Comic Museum - Free and Public Domain Comic Books. Accessed November 5, 2015. http://digitalcomicmuseum.com/
[9] Superheroes: A Never-Ending Battle. Performed by Liev Schreiber, Stan Lee, Adam West. PBS. Film.
[10] Simon, Joe. Captain America Comics. No. 1. New York: Timely Publications, 1941.
[11] Rosenberg, Robin S. "Prejudice Lessons from the Xavier Institute." In The Psychology of Superheroes: An Unauthorized Exploration. Dallas: BenBella Books, 2008: 75-90.
[12] Rosenberg, 86.
[13] Fago, Vincent. Captain America Comics. No. 39. New York: Timely Publications, 1944.
[14] Boren, Cindy. "Report: At Least 50 Teams Were Paid by Department of Defense for Patriotic Displays." The Washington Post, November 4, 2015. Accessed December 4, 2015. https://www.washingtonpost.com/news/early-lead/wp/2015/11/04/report-at-least-50-teams-were-paid-by-department-of-defense-for-patriotic-displays/.
[15] "The Comics Code Authority." ComicArtVille Library. Accessed December 8, 2015. http://www.comicartville.com/comicscode.htm.
The people of the United States of America have always had a special place in their collective hearts for idolization, hero worship, and obsessive fandom. Ever since print and radio communications allowed us to look outside our daily lives and into the public consciousness for curiosities and entertainment, we have been captivated by larger than life feats of bravery, heroism, and wonderment. Americans have often looked for entertainment and inspiration from all forms of contemporary media, from musicians and actors to athletes and politicians. That said, the genre that seems to have inspired the most wonderment and imagination throughout the years has been the peculiar concept of superheroes... specifically those of “The Golden Age.” The icons of this era of printed cartoons have endured for generations, captivating audiences across all mediums for the greater part of a century. Ask a preteen to describe his feelings on Dwight D. Eisenhower, and you are likely to be faced with apathy or confusion. Ask that child's grandfather how he feels about the music of modern rap artist Drake, and you can expect a similar reaction. Ask them both how they feel about Batman, and the cross-generational appeal and importance of these timeless characters becomes undeniably apparent. Superheroes are a uniquely American phenomenon that can shape the minds and dreams of their audience, while at the same time be an uncanny reflection of the issues and concerns of a generation of Americans. This almost romantic link between fantasy fiction and social commentary has had an undeniable impact on the cultural history of the United States of America.
“The Golden Age” of comic book superheroes is a term often used to describe the infancy of the genre of caped crusaders. It is most often pinned down as the period of time roughly spanning between the 1930s and the 1950s[1]. Before this period, comic books had a very different feel and perception than the common connotations we expect of the genre today. They were often relatively simplistic, occasionally dramatic, and undeniably marketed towards young children. They were basically an expansion on what you would find in modern “funny pages” of your local Sunday newspaper, or inside a package of Bazooka Joe bubblegum. Today, when we think of comics, our minds go immediately to the clichéd tropes of a caped crusader swooping in to save the damsel in distress, and ultimately the entire world, in the most dramatic way possible, with liberal use of snarky one-liners along the way. That all came to fruition during The Golden Age, when heroes such as Superman, Batman, Captain America, and Wonder Woman captured the minds and hearts of faithful followers from coast to coast, sparking a love affair that would last for generations and beyond.
The Birth of a Superman
The world's first superhero, the character perhaps most synonymous with good, valor, and justice, has a relatively surprising genesis. In the period of American history before super gifted heroes and heroines, there was no precedent set for any of the familiar tropes of cosmic saviors. In fact, when Superman was first created in the early 1930s, he was the Earth's greatest threat, rather than its greatest protector[2]. Originally conceived as a follically-challenged alien life form of superior intellect, bent on the destruction of worlds, Superman would be re-invented as a familiar classically handsome caped icon, with physical attributes beyond compare.
His creators, Jerry Siegel and Joe Shuster, drew inspiration from countless sources when laying the groundwork for their Superman[3]. His name and appearance were inspired by the leading men of the silver screen of the 1930s. His monumentally heroic actions were inspired by ancient hero epics, like Hercules and Beowulf. His costume, by carnival sideshow muscle-men, with a colorful and fantastic twist. They intended to make Superman as iconic and recognizable as possible, and it would be hard to argue that they didn't hit a home run. Even his cape, as seemingly obscure, gaudy, and out of place as it logically is, became standard attire for so many characters that followed in his massive footsteps.
Greatly influenced by the liberal politics of Siegel and Shuster, Superman became a warrior for social reform and progress. His early foes were corrupt politicians, greedy businessmen, and racial or social prejudices. Superman has also been credited as being a beacon for the Jewish community[4]. Invented and shaped by left-leaning liberals, Superman was very much a reflection of his creators. Noted Rabbi Simcha Weinstein has also drawn some stark parallels between the narrative of Superman and that of Moses[5]. In a very real way, Superman simultaneously became an inspirational focal point for countless young Jewish Americans, while also making their story almost covertly relatable to the rest of the population that was simply looking for a fantastic distraction from reality.
The Heroic Big Bang
While Superman absolutely had the staying power to become the be-all end-all of the superhero genre, he was only just the spark that ignited a veritable “Big Bang” of comic icon creation. Superman's publishers were quick to produce other caped heroes after the massive success of their Superman investment. Perhaps equally as iconic as Superman was the creation of Batman. Where Superman represented everything fantastical, out-of-this-world, and mythical, Batman was the complete opposite. He was simply a regular mortal human being; a wealthy man-about-town with a dark past, who took it upon himself to fight the evil of his hometown of Gotham. The success of such diametrically different origins of heroes went a long way in proving that there was a very real market for these superhero stories. It showed that the sky was the limit when it came to creativity of back stories and identities. Superman, a bright and colorful super-humanoid from another planet, and Batman, a dark and complicated mortal from the urban night, would go on to become the yin and yang of DC's comic book empire, but they would soon be joined by even more sustaining icons of the industry.
Batman and Superman were complemented by the likes of Captain Marvel, Aquaman, Wonder Woman, and The Flash. Each of these characters had unique identities and powers. Whether they could communicate with marine life, or move faster than the speed of sound, there was always another idea finding its way from concept to print in the rapidly expanding world of comic book superheroes. As DC continued to expand its roster, the market for superhero comic publications grew to the point of rival companies springing up to meet the demand. Marvel Comics would benefit the most from this expanding marketplace. Under the success of titles like Captain America, Marvel would build a rival empire of their own, sparking a war that has raged between the two companies for decades.
For every Superman, Captain America, and Batman, The Golden Age of Comics had dozens of failed and forgotten creations that simply didn't have the staying power or popularity of the seemingly immortal heavy hitters of the comic domain. In a genre that is filled with a cornucopia of copycats, even in modern times, it should come as no surprise that there were countless heroes created in The Golden Age that seem to directly rip off their more famous counterparts. Some even seemed to simultaneously draw from two different sources of inspiration. While DC had their Superman, a practically invincible protector of social welfare, and Marvel had their Captain America, who stood for justice, equality, and the American way of life, a company called Ace Comics had Captain Courageous[6]. Like Superman, Captain Courageous was a super-strong, flying, bulletproof, man of steel. Like Captain America, he was fiercely patriotic, clad in stars and stripes, and militaristic in theme.
The opening montage in his third (and final) appearance of his inaugural run reads as a cross between Superman's political activism, and Captain America's patriotic determination. “Fear... Yes, the fear of death was the striking threat the dread Black Mayor used to hold his victims at bay and force them to pay tribute in cold cash. But then suddenly... Captain Courageous, that dynamic symbol of American fearlessness crosses his path... a path that must lead one to victory and the other... to DEATH![7](sic)” Despite these similarities, or perhaps because of them, Captain Courageous would only see limited publication, and then fade into the public domain as a faint memory. He was not alone in that fate. Spark Comics, and their Atoman, Youthful Magazine's Captain Science, and Ajax's Black Cobra were all eventually lost in the shuffle of Golden Age creations[8]. Marvel Comics was lucky enough to have their legacy cemented in this era, however. They would not only eventually survive, but thrive.
Marvel vs DC
The Golden Age of comic books saw the birth of countless legendary superheroes and super villains, who would fight it out in the pages of colorful sheets of paper across the nation. At the same time, real life publishing heavyweights, DC and Marvel Comics would be trading blows at the newsstand, fighting for more share of the always growing market for their publications. It wasn't always such an even rivalry, however. It took multiple rebrandings and failed series for what was originally called Timely Publications to transform into the modern Marvel empire. Timely Publications, with the wildly successful Captain America franchise, was the birthplace of other notable successes. Future Fantastic Four icon The Human Torch, and future Avenger, Namor, The Submariner, were some of the more enduring creations of the Timely Publications era of Marvel's history.
Despite these successful books, both DC and Marvel began to see superhero comic books falling out of fashion after World War II, with western, comedic, and romance publications drawing a much larger share of the market. It wasn't until the late 1950s that DC would revive America's interest in superheroes with the creation of their Justice League series, which would feature a team of Superman, Batman, Aquaman, and Wonder Woman in one series. Seeing this revival of sorts, the legendary Stan Lee of Marvel Comics would attempt to bring Marvel back in to the forefront of superhero publication. Reviving the old Human Torch creation from the Timely Publications era of the company, Lee established The Fantastic Four series, matching the “team” dynamic established by DC's Justice League.
This back and forth of following trends set by their rival company is the cornerstone of the rivalry between Marvel and DC. DC has success with a superhero team in Justice League, so Marvel responds with The Fantastic Four and The Avengers. Marvel has success with a more human, even soap-opera style, dramatic approach to superhero interactions, and DC responds by taking a more serious and mature tone with their dialogue[9]. These two companies that inspire such animosity between their two fan bases have been falling over one another to be just like their rival.
They say that imitation is the sincerest form of flattery, and if that is true, then these two companies must both be constantly blushing in gratitude. In the realm of aquatic heroes that rule the seas, Marvel has Namor, while DC has Aquaman. The Justice League has an archer named The Green Arrow. The Avengers have an archer named Hawkeye. Marvel and DC both have “doctors” that practice black magic, in Doctor Strange and Doctor Fate, respectively. There are countless similarities between Captain America's sidekick, Bucky Barnes, and Batman's sidekick, Dick Grayson. They both matured beyond sidekick to become their own superhero series, as well, in The Winter Soldier and Nightwing. Perhaps the most obvious and blatant example of the ubiquity of copycats between these two comic universes is between DC's Deathstroke and Marvel's Deadpool. Both are heavily armed mercenary anti-heroes that wear red and black outfits, carrying swords, explosives, and guns. Both are willing to take lives to further their cause, with negotiable moral compasses. The similarities go from eerie to downright ridiculous when you consider their alter ego identities. Deathstroke's real name is Slade Wilson, while Deadpool is known as Wade Wilson! Despite all of the obvious tributes and references between publishers, the rivalry continues to burn to the present day.
The Evil Within the Books
No great comic book story would be complete, without an appearance from the antithesis of the superhero, the super villain. As stated above, early superhero comic books dealt primarily with the concepts of these more-than-human crusaders swooping in to rescue us from the evils of this earth. They often fought corrupted politicians, mafia bosses, street thugs, or in the case of Captain America, real-life villains like Adolf Hitler[10]. When telling stories of fantasy worlds where men can fly, shoot lasers out of their eyes, lift freight trains with their bare hands, and fly to other galaxies, the mind naturally wanders back to where Jerry Siegel and Joe Shuster originally went with their Superman creation. What happens when one of these amazingly gifted Gods among men decides to victimize us innocent mortals, rather than protect them? Thus was born the super villain. DC's Batman series produced some of the most iconic bad guys in the history of all media, with such overarching popularity that they have even made movies dedicated only to telling their stories. The Penguin and The Riddler were some of the focal points of the early Batman comic books, and played prominent roles in the famous television series, starring Adam West. Batman's biggest foe, and perhaps the most famous super villain in the genre, is The Joker.
Marvel's X-Men series threw a complicated wrench into the concept of super villains, while weaving enthralling story lines that draw parallels to the American civil rights movement[11]. In X-Men, there is a team of human mutants that are guided by a paralyzed telepath named Charles Xavier. While fighting crime and protecting the Earth is on the X-Men agenda, they also face prejudices and suspicion from the population they are sworn to protect. Fearful mortals try to enact concentration camps, legislation against using super powers, and strict anti-mutant laws to keep these superheroes in check, while the X-Men peacefully fight for acceptance and rights equal to the humans that are so quick to shun them. On the other side of the same coin, the X-Men have to battle super villains like Magneto, and his team of mutants, who have much different ideology as to how to gain acceptance in society. They see themselves as the next step in human evolution, and rightfully at the top of the proverbial food chain of life. If humans want to discriminate against mutants, then Magneto feels justified in gaining acceptance and dominance by force.
The themes of civil rights, prejudice, and social unrest can be read as a direct reference to the American civil rights movement. Charles Xavier and his X-Men could arguably be linked to the ideology of Martin Luther King Jr., with his messages of peaceful resistance and hope for a better tomorrow. On the other hand, Magneto's hard line stance against discrimination, and willingness to use force to further the social standing of his people could be easily compared to that of the Black Panther party, or, ironically, Malcolm X[12]. Comic books have a way of mimicking the lives of the readers, in ways that may not seem immediately apparent, especially to younger readership. Sometimes it is blatant and direct, other times it is subtle and artful. Captain America captured the imaginations of patriots across the nation when he went to war with Hitler and the Axis Powers, and continued to fight against fascism and Nazis in the form of The Red Skull and Hydra. This was especially important during the war effort, when so many kids and teenagers were left at home while their male role models were overseas... seemingly fighting alongside Captain America, in the minds of young Americans.
Art Affecting Life
While it is obvious that comic books maintained their popularity through The Golden Age and beyond by reflecting the concerns, narratives, and headlines of the real world, they were not above the idea of turning the tables a bit, and trying to dictate morals and opinions on their readers at the same time. For every panel of Captain America winning the hearts of readers by capturing and incapacitating a Nazi soldier, there is another filled with hateful and racist stereotypes towards Japanese soliders[13]. Captain America became a symbol for one of the most influential propaganda campaigns in American military history. While fighting the Axis powers, Captain America convinced many young Americans of the importance of purchasing War Bonds, and watching out for those who may not be out to help the cause of the Allied Forces. Today, the United States military is known for aggressively using propaganda in entertainment, to recruit future soldiers into their ranks through public displays at sporting events[14]. In the Golden Age of comics, it was Captain America and Bucky Barnes shaping the minds of future soldiers.
The comic book industry also attempted to self-legislate morality towards the masses. In lieu of an FCC-style censorship of published comic book materials or federal intervention, the comic book industry agreed to abide by their own code of conduct in 1954. This makeshift code of conduct was dubbed the “Comics Code Authority.” It dealt primarily with what could and could not published in comic books. It censored inappropriate language from young and impressionable readers, and also kept overly mature themes out of the comic books of the era[15]. Publishers that abided by the code would submit their work to the Comics Code Authority well in advance of their publication. It would then be critiqued and potentially approved. Once approved, the publishers were given the green light to publish their book, with a special emblem on the front cover, listing them as approved. Parents would look for that emblem when purchasing comic books for their children, resting assured that they wouldn't be filling their children's minds with anything they wouldn't approve of. Most major publishers continued to voluntarily abide by the Comics Code Authority up until the turn of the century. Marvel stopped in 2001. The final hold out to abandon the Code was DC, who used it up until 2011.
A Golden Legacy
The Golden Age of comic books is more than just a nostalgic era of entertainment for a select few who happened to be around to read the issues when they were originally printed. The importance and impact of this era isn't even confined exclusively to people who read comic books at all. The characters of The Golden Age of comic books have transcended the pages of print media altogether. Both Marvel and DC have licensed monumental movie empires for their most popular characters. There have been countless movie adaptations of both Superman and Batman, in every era of the silver screen. Marvel recently took center stage by producing their own cinematic universe around many of The Avengers, with Captain America square in the middle of the action. There are even wildly popular broadcast television series based around both the DC and Marvel universes, such as Gotham, Daredevil, The Flash, and Agents of S.H.I.E.L.D.
Comic book superheroes have become so ubiquitous and ingrained in the consciousness of the American public, that their symbolism have seeped into just about every aspect of popular culture. Legendary basketball star, Shaquille O'Neal, prominently displayed Superman's emblem on his bicep as he was winning multiple NBA titles on national television. Carolina Panthers quarterback, Cam Newton, is known to mimic Clark Kent ripping his shirt open to display that same Superman emblem every time he scores a touchdown. Jack Campbell, a goaltender for the Dallas Stars in the NHL, has been known to wear Captain America themed paint jobs on his goalie mask during international competitions.
What has always been known as a somewhat geeky hobby of comic book collecting has slowly found its way, ironically, into the world of jocks and professional athletes. Even episodes of Seinfeld, one of the most successful and celebrated sitcoms in history, is riddled with references to the DC comic characters of The Golden Age. While comic book characters come from all walks of life, spanning the entire globe, and even into outer space, the phenomenon of superhero obsession is a distinctly American concept. Comic book characters are as much a part of the American experience as any other form of American media, with their humble roots of The Golden Age at the very core.
Bibliography
Benton, Mike. Superhero Comics of the Golden Age: The Illustrated History. Dallas: Taylor Pub., 1992.
Boren, Cindy. "Report: At Least 50 Teams Were Paid by Department of Defense for Patriotic Displays." The Washington Post, November 4, 2015. Accessed December 4, 2015. https://www.washingtonpost.com/news/early-lead/wp/2015/11/04/report-at-least-50-teams- were-paid-by-department-of-defense-for-patriotic-displays/.
"Captain Courageous." Comic Book DB. Accessed December 1, 2015. http://comicbookdb.com/character.php?ID=18692.
Simon, Joe. Captain America Comics. No. 1. New York: Timely Publications, 1941.
Captain Courageous Comics. No. 6. Chicago: Ace Magazines, Periodical House, 1942.
Daniels, Les. Superman: The Complete History. London: Titan, 1998.
Fago, Vincent. Captain America Comics. No. 39. New York: Timely Publications, 1944.
Kaplan, Arie. From Krakow to Krypton, Jews and Comic Books. Philadelphia: Jewish Publication Society, 2008.
Superheroes: A Never-Ending Battle. Performed by Liev Schreiber, Stan Lee, Adam West. PBS. Film.
"The Comics Code Authority." ComicArtVille Library. Accessed December 8, 2015. http://www.comicartville.com/comicscode.htm.
"The Digital Comic Museum - Free and Public Domain Comic Books." The Digital Comic Museum - Free and Public Domain Comic Books. Accessed November 5, 2015. http://digitalcomicmuseum.com/
Weinstein, Simcha. Up, Up, and Oy Vey! Baltimore: Leviathan Press, 2006.
[1] Benton, Mike. Superhero Comics of the Golden Age: The Illustrated History. Dallas: Taylor Pub., 1992.
[2] Daniels, Les. Superman: The Complete History. London: Titan, 1998: 13.
[3] Daniels, 18.
[4] Kaplan, Arie. From Krakow to Krypton, Jews and Comic Books. Philadelphia: Jewish Publication Society, 2008.
[5] Weinstein, Simcha. Up, Up, and Oy Vey! Baltimore: Leviathan Press, 2006.
[6] "Captain Courageous." Comic Book DB. Accessed December 1, 2015.
[7] Captain Courageous Comics. No. 6. Chicago: Ace Magazines, Periodical House, 1942: 1.
[8] "The Digital Comic Museum - Free and Public Domain Comic Books." The Digital Comic Museum - Free and Public Domain Comic Books. Accessed November 5, 2015. http://digitalcomicmuseum.com/
[9] Superheroes: A Never-Ending Battle. Performed by Liev Schreiber, Stan Lee, Adam West. PBS. Film.
[10] Simon, Joe. Captain America Comics. No. 1. New York: Timely Publications, 1941.
[11] Rosenberg, Robin S. "Prejudice Lessons from the Xavier Institute." In The Psychology of Superheroes: An Unauthorized Exploration. Dallas: BenBella Books, 2008: 75-90.
[12] Rosenberg, 86.
[13] Fago, Vincent. Captain America Comics. No. 39. New York: Timely Publications, 1944.
[14] Boren, Cindy. "Report: At Least 50 Teams Were Paid by Department of Defense for Patriotic Displays." The Washington Post, November 4, 2015. Accessed December 4, 2015. https://www.washingtonpost.com/news/early-lead/wp/2015/11/04/report-at-least-50-teams-were-paid-by-department-of-defense-for-patriotic-displays/.
[15] "The Comics Code Authority." ComicArtVille Library. Accessed December 8, 2015. http://www.comicartville.com/comicscode.htm.