Serija
od pet eseja napisanih za potrebe seminara The
Rise of the Superheroes and their impact
on pop culture Smitsonijana, Majkla Uslana (profesora Univerziteta u
Indijani na katedri za strip i filmskog producenta) i Stena Lija. Eseji su u
originalu, kako su bili podnošeni za potrebe seminara, a vremenom ću ih
prevesti na Srpski i obogatiti prigodnim ilustracijama. Završni rad, sa temom
Panišera sa osvrtom na uzroke njegovog nastanka i uticaja u društvenim tokovima
tog vremena, nije uključen ovde i biće posebno izdvojen.
Essay
1: Mythological interpretation of superheroes/villains
Every
protagonist in American superhero universe can truly be identified as one of
ancient deities. Some with more, some with less imagination and mythological
background. But, to know what truly lies in inspiration of their creators and
authors is only for them to tell. Just as any superhero and super villain
actually (most of the time) has gone through in-depth evolution of character,
where his abilities, background, and sometimes very essence has been changed,
probably several times. So, to truly understand their mythological background
is to look in very inspiration and interpretation of their makers.
With
that in mind, we can give our sighting of mythological background that is
sometimes very different from intent of people that conceived them in their
mind.
First
of all, let's start with a very unique super villain. Actually, not as villain
but rather creature of unimaginable power and background, that caught everyone's
eye on first reading – Doomsday. Doomsday is a creature, in lack of better
term, that was responsible for killing Superman in a event from late 1992. As
an ultimate killing machine, we see Doomsday beating his way from underground
dungeon, chained and covered, only to gradually see him exposing himself trough
this event. His very appearance, as seemingly mindless beast, full of bone
spikes, teeth, gray skin, and desire to wipe out any life, puts him in a same
perspective as primordial forces, uncontrollable and without remorse – Titans
from Greek mythology, very enemy of Olympian gods in Titanomachia. Titans were
children of Uranus and Gaia, and first order of Titans counted 12 deities of
unimaginable power and personifications of primordial forces that terrified
humans – earthquakes, eruptions, floods etc. Titanomachia is a legendary
conflict of Titans and Olympian gods led by Zeus. Olympians were actually
offspring of Titans, namely Titans Kronos and Rhea. Important thing, or rather –
things, are that Titans were not killed after conflict. They are immortal, just
as is fear from these primordial forces that even now awake from time to time
and threaten our civilization (tsunami, volcanoes etc). Just as them, Doomsday
is un-killable. He escaped from underground dungeon, chained, and came to
uncontrollably destroy or be stopped (temporarily). He lives on and on, from
one devastation to another, and becomes even more deadly every time he
"dies". His very origin is from Krypton, planet of Superman origin,
but his beginning is veiled in a shroud of time as a proto-project of early
Kryptonians in search of genetic perfection. So, in a way, he is a predecessor
of Superman that came to battle his "offspring", just like in
Titanomachia. And last thing in this regard of Doomsday as first example, is the
role of Superman. Morrison compares him to Hercules in All Star Superman, and it is Hercules that tipped the scales in
Titanomachia. Olympian gods were to be victorious only after Hercules comes to
join their ranks. So, to conclude, Doomsday has its parallel in Greek mythology
as Titans, with very palpable aspects of myth that support it.
To
continue in same manner to second example. Or, in better words, to continue
Doomsday arc and get on to Superman. As it is pointed by mr. Uslan, professor
of comics from University in Indiana, regarding his parallels of superheroes
and ancient deities, Superman does
indeed have origin story in a certain way similar to Moses. But, rest of mythos
just don't fit. Also, Morrison tied him to Hercules in his masterpiece All Star Superman, which is just fine,
he is heroic figure with vast possibilities; we can also listen to the words of
Wonder Woman in animated movie Justice
League: War, when they defeat Darkseid (New52 version at least) and she
points out their ties to ancient Greek gods. She calls Flash – Mercures, Cyborg
– Hephaistus and so on. But for Superman she points out that he is
"something that is never seen before". Well said. But not for lack of
certain parallel, but better for presence of too many of them. Superman is
combined might of best parts of all ancient Gods. But, if we have to point out
one of them, it is certainly Helios, the son of Titan Hyperion, and not in fact
one of the Olympians but Titan himself. But as many of them, like Aphrodite or
Tethys, he was in peaceful terms with Olympians after and during Titanomachia,
and he acknowledged supremacy of Zeus. Helios was a Sun god. He flew across sky
in his golden chariot, spreading sun rays across world. He was given island of
Rhodes by Zeus, where in ancient Hellenistic times stood his magnificent
statue, one of Seven wonders, Rhodosian Colossus. He did not get his strength
from Sun, like Superman, but in fact he was Sun. But in other terms, he could
fly, like Superman, his power was in close connection with Sun. He did not have
any weakness like our Superman had Kryptonite, but when you look at it there
really were some connection. Only thing that Helios was afraid, like Olympians,
was only thing that could block out his power – escape of Titans from Tartarus
(personified in comics as escape of Doomsday). His origin was his only threat.
Well, what is Kryptonite if not radioactive corrupted remnants of his home
world – his own origin. And to conclude, in mentioned All Star Superman by Grant Morrison, it was Superman that reignited
the Sun in the end. That was his actual apotheosis – becoming of deity. He has
returned thousands of years later in a book also written by Morrison, JLA One Million, as a golden god bathed
in sun rays emerging from Sun – something like Helios.
And
to conclude this with an third example, we will be moving from DC universe for
time being, and to Marvel comics. Since Greek mythology is foundation for
previous analysis we can continue in that tone. Our target now is Captain
America, created by Kirby at the beginning of World War II in 1940. Captain
America originated as a small, weak patriot who went through experimental
testing and got a dose of super soldier serum, which turned him in a perfect
warrior in every way. So, he was a human given powers of deity. Unstoppable
warrior, strong, with higher stamina, speed, endurance, and better in every
possible way then best of us. But his moral founding's, his very essence was
his own, uncompromised and incorruptible by anyone, and above all he respects
only his own judgment, not any authority or order that he is not considering honorable
by his standards. Captain America, what is very well known, was buried for
years in ice after mission gone wrong, and was found by members of Avengers,
namely Tony Stark, Hank Pym, Wasp and Hulk. From there he was logical person to
lead this team of superheroes. Let's stop there with review. So, do we have any
deity that fits in this description, even remotely? Well, it is Achilles, Greek
hero from Trojan war. Achilles was a son of Myrmidon king Peleus and nymph
Thetis. So, he was a mortal, with a godlike part in himself, but still mortal.
Knowing this, his mother dipped him in a river Styx (Acheron) when he got his
invulnerability, except on his heel where mother held him while doing this. His
god part gave him stamina, warrior skills, speed and invincibility. Mother gave
him invulnerability by ritual. And gods, namely Hephaestus, gave him best armor
in a world. So, Steve Rogers/Captain America was given almost all those things
by a scientist (father figure) that injected him super soldier serum. And also
he was given vibranium shield, what is his trademark, indestructible armor like
Achilles had. Similarities are obvious. Achilles had one flaw, his heel that
was his only vulnerable part. Captain did not have weakness like that, but he
did have something else. His only weakness are his friends, from Barnes to
modern day teammates. Well, Achilles also had a fatal weakness, a love for his
friends, especially his cousin Patroclus. When Patroclus was killed wearing
Achilles armor, he got in a blind rage and set a series of events that resulted
in his death by the hands of Paris. Long story short, Patroclus was killed by
Hector, who was killed by Achilles, who was later killed by Hectors brother
Paris. And we can't count times when Captain America was in danger by his
loyalty for friends and teammates. Concerning Captain's morality and respect of
his judgment above authorities, Achilles was also known for his short temper
and conflict with kings and warriors alike, especially Agamemnon. So he too
didn't respect any authority that was against his moral code.
Essay
2: Rise of superheroes in 1930s
Among
numerous factors that resulted in rise of comics, and especially superhero
comics in 1930s, and having in mind all political, social and economical sides,
we can point out, or rather narrow to three main "why's".
a)
Production and distribution
b)
Money in times of Great depression
c)
Crime, mob and World War II
As
for first topic, there is question of production innovations in these times. We
all know that XIX century industrialization resulted in great deal of new
production techniques, especially steam powered engines. Printing press dates
back to Gutenberg in XV century, but it was in XIX c. that we saw first steam
powered press that managed to do from 1000 to 1500 impressions per hour (iph).
What happened in XX century was greater use of electricity, better machines,
and as result better, faster and more reliable printing press. From late 1930s
we could count on steady 2500 to 3000 iph, with far less production cost. Thus,
printing any form of material, poster, news, book, dime press and pulp fiction,
and of course comics, was more and more profitable, with less and less
production cost.
Also,
there was major break in color printing, especially in 1930s. Up until then,
method used for color printing was chromolithography, and later zincography,
which were replaced dominantly in 1930s by offset printing. It was discovered
in 1875, but was in commercial and wider use from these times, and thus more
efficient, less costly and more profitable.
Also,
distribution of any press, and comics, by 1930s was easier and less costly.
So,
we have a product for wide population, that was now more easy to make, produce,
and distribute, and it cost less to make, and by that less to charge to end
users. We can say it is very important part in its popularity.
Secondly,
money. And "money makes the world go round". In 1929. US initiated
Great Depression, biggest economical collapse of world economy... up until XXI
century. It started on September 4th 1929. with fall of stock, and culminated
on October 29th same year with stock market crash. World was in trouble, and US
above all. Unemployment reached to the sky, with increase of 607%, and with
foreign trade plummeted 70% in minus. One thing led to another, and we had
increasingly more and more poor people, hungry and unsatisfied, especially in
urban centers. Public disappointment was increased, and US were on break of
chaos. But, old Romans had one very good saying "panem et circenses" –
bread and games. People had to be fed and entertained to be calm. Rations
guaranteed that there were not to be nation-wide hunger, and low cost
entertainment did the rest. And did we mention that comics were 10c? Did we say
that everyone could read them? Kids and adults. Literate and others that did
not went in good terms with letters. 10c was pretty low cost, even in that
times. For example, steak was 20c, new radio was 9.95$, new car 685$, train set
for kids 11.98$ and mince pie was only 40c. So, even in that times 10c was
something that was affordable to kids. And above all, comics could go through
many hands, and could be read many times. And it could be done anywhere: toilet,
roof, bed...
A
study conducted by Market Research Corporation for Fawcett Comics in 1943.
actually concluded that 95% of elementary aged children read comics, and 90% of
high school kids also consumed them. So, it was wide array of readers that grew
up on them in very troubled times, mainly because it was affordable, available,
and immensely fun.
Third
and final thing. 1920s and 1930s, as it was mentioned, was a time of great rise
of organized crime in US. Not only that, but crime was interesting. Criminals
were like movie stars. Politicians were crooked, cops were corrupted... For
poor kids raising up in great cities, it was only option, and for some it was
like going to Big Brother in these days – way to celebrity and riches. Even
"The King" Jack Kirby stated, and I quote: "...Gangster's
weren't stereotypes you see in movies. I
knew the real ones, and the real ones were out for big money. The average
politician was crooked. That was my ambition, to be crooked politician. I'd see
them in these restaurants, and they'd all hold these conferences..."
So,
it was desired by many to be one of those people. And, beyond hill there were
even greater dangers lurking. Nazi's rose in Europe, Japan went their way.
Suddenly ideology was important. And people needed something to inspire them.
But people couldn't fight those big battles, especially when they remembered
horrors of WWI. People needed to actually escape that reality, in a world when
some figure, colorful and shining, someone from beyond our world, or even some
rich man that desired justice, something unseen in their reality, could resolve
big battles with one punch. People needed to believe that beyond any glasses,
hat or cloak there was a figure to lead them to victory on those that oppressed
them. People needed to believe that even one small, weak and clumsy boy could
fight Nazi's after one experiment. People needed inspiration. Thus, radio
drama, pulp fiction and superhero comics. First there was fighting organized
crime, when came Superman and Batman, but soon after they, and those that came
with them, Captain America, Namor, Wonder Woman, went to bigger battles, and
suddenly gave youngsters to wish something else then being "crooked
politician". And even one boy that wished that gave us Captain America instead.
Essay
3: Origin of superheroes and their authors
When
we are talking specifically about Jewish authors that created bulk of superhero
figures in comics throughout end of 1930s and first half of 1940s, namely
during times of Great Depression and World War II, we are actually talking
about implementation and inspiration of their culture. And that is a culture
older than most in our world. So, sources of implementation are vast.
First,
I want to divide question of development of comic book industry from actual
inspiration of superheroes. Jewish immigrants and first generation of Jewish
citizens left a strong mark on rise of industry, just as much as immediate
inspiration on superhero culture. Jewish culture is a culture of survivalists.
They adapt and search for possibilities in every environment and culture, while
trying to maintain their strong imprint and uniqueness. And that culture of
survivalists spent hundreds and thousands of lifetimes in specific professions,
mainly financial. They were hated for it, and loved, but spirituality and
finances are two things that most people associate to Jewish culture. Besides
persecution and thousands of years of exile. And in new world, running from new
persecution, immigrants and their children tried to do what they know best –
survive. One thing about them, they are connected and innovative. Those two
features made possible for comic book industry to thrive. It was loved by wide
audience of children and youth, thus made a lots of profit, and its creation
was all about many people making it together. Didn't Stan Lee say once that he
got his first job by family connections? It's how it works in many areas, it
was like that way back in 1930s too. Sense of enterprise, innovative spirit,
and new frontier for publishing.
Now
to head over to authors. From Jewish rich culture, there are several things
that give direct inspiration for superheroes:
1.
Prophets and messiah
2.
Golem
First,
culture of prophets and messiah mythos is strong in Old testament and majority
of Jewish holy scripture. It was prophets that preached the word of God, and
were bestowed special gifts, "powers" if you will, upon them. Need we
go over them? Jonah and whale, Daniel and lions... It goes on. Old testament is
full of miracles of "chosen ones". Moses and exodus is one long story
about "superhero", or maybe dividing Red sea, Manna from Heavens and
all other miracles isn`t enough? And not to mention Messiah. Hebrew scriptures
preach coming of chosen son, messiah, sent by God (Heavens), to deliver people
from evil, save them and be all mighty. Something that two Jewish kids made up
and turned in the comic called Superman.
Then what is Batman, another creation
of Jewish author? Well Avenging angel, of course. One of angels that leveled
Sodom and Gomorrah (even sounds like Gotham, don't it), cities filled with sin
and crime.
Other
approach to creating superhero, other than "sent by God" must be
"made by man". And Golem is just that. Creation of man, with great
power and some weakness. Story is that masters of Kabala, Jewish mysticism, can
create man of clay, Golem, and to breathe life into them by magic and writing
word of life on their head. Those creatures have great strength and power. It
is believed that one of them was created in XVI or XVII century in Prague by
rabbi, and it laid waste trough city. Golem is destroyed by wiping one letter
from word of live, transforming it in death. Well, let's remember Human torch. Created by man, a
scientist, kept in bottle, and in contact with air it was on fire and powerful.
Let's remember Wonder Woman - created
by mother from clay. Yes, clay, and given life. Sure, not all superheroes have
that origin. Not all derived from Jewish culture. But, not all authors were
Jewish too. One inspired others, and those inspired latter. All in one long
chain. But inspiration of those thing is undeniable, and should be respected.
Essay
4: Of monsters and men
Decline
of superhero comics popularity, emerging of new genres (romance, western,
crime...) and especially strong opposition to comic culture, particularly
superhero – that was one hard decade, from mid 1940s to mid 1950s. And it was a
decade that comics really came in line with other forms of culture media in US.
How? Well, it was attacked like all others.
The
Cold war was emerging in a post-war world. A strict divide, Iron curtain, has
split a world in two. And, say what you want about Cold war, but really it was
a war of fear. Let's put it Fear, with capital "F". Communists were afraid of western capitalism,
and vice versa western world was afraid of communists – revolution and
nationalization in two words. But here's a thing about fear – it leads to more
and more fear. To protect one country, one of leading capitalistic countries of
post war world, US government decided to make its citizens really afraid of
communism. So they painted very imaginative and colorful picture of that
looming threat. Communism was everything you can imagine: homosexuality, crime,
hunger, starvation; every possible thing that can put fear in ordinary man and
woman. And only thing standing in way to spreading of communism, according to
government, was The American Way. And it was portrayed as the ideal of suburban
communities, working middle class, home and family, going to church and with
high sense of morality. And all thing that just didn't fit in were, amongst
other, comic books.
According
to experts, parents, teachers and public in general, they were a massive waste
of time, poorly drawn, illiterate and violent. That some of them, many of them
actually, were really bad didn't help either. Most of inspiration was gone, and
society felt that children needed little more guidance other then comic books.
So, when dr. Wertham started his crusade, a witch hunt of sort, he hit a
society in its weakest spot. Most of children read comics, and parents just
needed to be reminded by someone that they can put a stop to it. We all know
what dr. Wertham did, and how, so we don't need to go over it step by step, but
he did acquire a vast number of followers over years. And all that was devised
on a poor and falsified study. His so called case study involving
"thousands" of children, actually was a lot smaller in numbers, and
he deliberately hid some of facts to fire up his claims. First of all, he
concentrated only on children that were with troubled behavior. And he tied
their actions to comics. Where in reality one could have dug up almost hundreds
of times more kids that also read comics without any behavioral problems. His
own example shows a kid troubled with homosexuality that Wertham tied to his
reading of Batman. Truth is, not told by kind doctor, that boy was sexually
molested, and that he didn't read Batman for years prior interview by Wertham.
Those examples go on and on.
But,
nevertheless, comics were started to be persecuted, burned, banned, and
response of industry was actually weak. They tried to fit in, blend. They
downsized production and efforts to produce quality material. Responses were
few and weak, only few stand out, like:
"Lately there has been quite a
debate about comics raging in the Saturday Review of Literature (...) In an
article a Dr. Wertham discussed the problem of juvenile delinquency in America
today, and pinned the blame for some of these cases on comic magazines, simply
because many of the delinquent youngsters had read comics. 93% of all young
people (from 8 to 16 years of age) read comics. Naturally a few young people
get into some kind of trouble... so do a lot of older ones... and of course
many of the kids who get into trouble do read comics. But what the article does
not state is the fact that 93% of the boys and girls who get into no
trouble at all also read comics. (...) Once again let us remind you to
show our magazines, or any of the other good comics, to people who
criticize this form of entertainment. Show those people that your favorite
magazines are not harmful. Let them see Dr. Thompson's endorsement on the first
page of every one of our magazines, and prove to one and all that the comics
you buy and read are good for you." (Timely Comics Editorial,
1949)
Wertham
had more than few followers, and some of them were people from medical
profession, and others that didn't agree with him remained silent. Why? Fear,
with capital "F". Nobody wants to stand out and give his support to
something targeted as subversive like comics, and something insignificant like
comics too. It was a time of witch hunt after communists in all of States, time
of McCarthy and his hooligans in Committees driving many people to suicide, and
fear can drive you to many things, even silence. Those that did stood out,
mostly editors and authors, actually had a symbolic target on them.
To
ease up the pressure, a solution from movie industry came in hand. The
Association of Comics Magazines Publishers (ACMP) was formed on July 1st 1948.
to regulate the content of comic books. The founding members included
publishers Leverett Gleason of Lev Gleason Publications, Bill Gaines of EC
Comics, Harold Moore of Famous Funnies, and Rae Herman of Orbit
Publications, with attorney Henry E. Schultz serving as executive director.
That very body devised Comic Code Authority several years later. Things
culminated at 1954, on April 21st, when a Senate Subcommittee on Juvenile
Delinquency was summoned by senator Estes Kefauver. On that hearing dr. Wertham
was one of strongest participants, and to everyone's surprise he even stated
that comics should not be banned but only regulated. So government had a very
strong point regarding comics at that time. Comics Code Authority was
established that same year. Absurdly, things were on a way to calm down for
comics after CCA have been established. Sure, it was a nuisance for publishers,
and for industry itself, but by mere existing of some regulatory body like CCA
government and public seemed to calm down; like there was someone to keep an
eye on those comics for them and they could rest easy. There were greater
threats looming in distance then cartoons and comics.
If
CCA was a good thing in general, it wouldn't been abandoned years later, as it
should be with any form of control and oppression. But, truth in all, there is
one good thing that came out of it. Bound by CCA chains and watchful eye, comic
book authors were forced to be more creative than before to survive. That
explosion of creativity, new ideas, using new setting of things in world to
produce new line of superheroes gave birth of Silver age of superheroes, and
God knows if that would happen if superhero comic world have not been shaken a
bit during 1940s and 1950s.
Essay
5: Silver age
The
very term "Silver age" of comics refers to Greek mythology once
again. The term was used to describe five "Ages of men" by Hesiod.
Silver age was second age of man, following Golden age, same as here. In Golden
age, during of rule of Kronos and Titans, people were noblest and lived
longest. After defeat of Kronos by Zeus came Silver age, where people were
still more noble then today, lived hundreds of years and were mighty, but not
as much as in Golden age. It was a time of beginning of Olympian rule and rule
of Zeus that has seen division of year in four seasons. The term Silver age of
comics refers to second age of comics, and as its Greek counterpart, has seen
some changes in superhero universe, some good, some less nostalgic.
America
changed from end of World War II to 1956. That change, besides Cold war and all
those things that brought Wertham and McCarthy, reflected in serious and
palpable difference in US in just one decade.
Between
1945 and 1960, the gross national product more than doubled, growing from $200
billion to more than $500 billion. Historians use the word “boom” to describe a
lot of things about the 1950s: the booming economy, the booming suburbs and
most of all the so-called “baby boom.” This boom began in 1946, when a record
number of babies – 3.4 million – were born in the United States. About 4
million babies were born each year during the 1950s. In all, by the time the
boom finally tapered off in 1964, there were almost 77 million “baby boomers.”
Second
thing is real change in civil movements, and above all strong turn towards
African American emancipation. A growing group of Americans spoke out against
inequality and injustice during the 1950s. African Americans had been fighting
against racial discrimination for centuries; during the 1950s, however, the
struggle against racism and segregation entered the mainstream of American
life. In December 1955, a Montgomery activist named Rosa Parks was
arrested for refusing to give her seat on a city bus to a white person. Her
arrest sparked a 13-month boycott of the city’s buses by its black citizens,
which only ended when the bus companies stopped discriminating against African
American passengers. Acts of “nonviolent resistance” like the boycott helped
shape the civil rights movement of the next decade.
But
biggest change of all was in people views of young people. The term
"teenager" was rarely used before the 1950s. During the Eisenhower
years, young people began to see themselves as a distinct group. Their attempts
to forge an identity worried adults, who couldn't understand the shift. The
change was connected to the nation's affluence. Earlier in American history,
young people often had to work full-time jobs to help support their families'
basic survival. By the 1950s, that was usually no longer the case. Teens
instead worked part-time jobs or received allowances from their parents, giving
them money to spend on fun non-essentials. So now, young people had minds of
their own, and money to spend on them, with more and more independence. But
that change didn't go the way their parents planned, or at least feared.
They
owned cars, cruised the highways, and frequented fast food outlets and drive-in
movies. They bought records and adopted rock n' roll as the sound of their
generation. Rock was a form of music created specifically for teenagers,
performed by young people, and marked by a more open sexuality than the kids'
parents were used to. But the youth movement of the Fifties did not overturn
society, as some grown-up experts feared it would. Youth rebellion was aimed at
parents and the confines of daily life, not at society as a whole. The only
youthful rebels of the era who you might truly call revolutionary were the
African Americans who participated in serious protests against wider injustices
in society. Most white teenagers did not concern themselves with social
problems and some educators referred to them as a "silent
generation." Like many in the Fifties, they were restless. But as they
grew up, they tended to adopt to the norms of the wider society. Almost half
the young men of the era were drafted and served dutifully in the United States
military. So society saw that fears of dr. Wertham and critics of urban pop
culture were not real and threatening. World kept on spinning, and youth just
needed its outlet. So, they had means to buy and enjoy comics, they wanted more and more better content,
and it sprung dawn of Silver age of superheroes, for much more emancipated and
educated youth. It reflected world as it was in that age. Modern, fast, more
scientific and exploratory.
And
in that world, with youth that didn't just want simple one sided storylines,
market wanted human side of stories. And that is what Stan Lee gave them. As he
himself stated, he implemented a "human" story in superhero universe.
Personal relations, overall grey instead of pure black and white world, that is
something that exists even today in all superhero comics. Good ones at least.
Not by mere inventing tons of characters, but by knowing desires of that day
market, Stan changed way we perceive comics today. Writing to editors, answers
to readers, personal and warm reception of everyone's opinion.
There
is only left to say few words of Batman
TV show that aired those years and revitalized superhero comic industry. It was
silly, sure. Funny in some ways. What it was not, it had nothing to do with
Dark Knight. We all know Batman, and more dark and mysterious he is, more we
love him. What we don't love is almost comedy approach of "pfap",
"bang" and "zing" Batman with cherry and merry villains.
Joker is most loved villain, not only of Batman but almost in all universe, just
for his dark and sadistic part, and we all expect our hero to keep up that
tone. None of that was in Batman TV
show. But, still, it was almost best thing that happened to superhero comics,
and for Batman comics generally. Why?
It kept the flame lit. And it even shined it further. It presented superhero in
a way that anyone could see and none could judge (parents most of all). So, for
a kid that watched Batman and wanted to buy comics parents didn't object. They
didn't see anything wrong in it, and didn't want to bother with checking those
"silly" comics. That show dulled the sword that every critic held on
superhero comics, and it made people forget what they hated about superheroes.
In long run, that don't seem to be a strong legacy, but it is. Just like those
few superhero comics that survived Golden age, Batman TV show made possible for at least one generation to grow up
loving comics, and that generation are very people that are making comics
trough 1980s and 1990s, and even today.
Nikola
Dragomirović
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