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elspethdixon May. 11th, 2007 02:59 pm)
elspethdixon May. 11th, 2007 02:59 pm)I just read an irritating article on the Literature Online database wherein the author argued that Alan Moore's "Watchman" and Frank Miller's "The Dark Knight Returns" marked the beginning of the inclusion of real-world social problems and government authority (and dark, deep stuff in general) in comics.
[Citation, for those who wish to be likewise annoyed: Hughes, Jamie A.: 'Who watches the watchmen?': ideology and 'real world' superheroes.
Journal of Popular Culture (Popular Culture Center, Bowling Green State Univ., OH) (39:4) [Aug 2006] , p.546-557.]
The fact that I felt instantly filled with the desire to email said random literary critic scans from Miller's Daredevil run and, oh, say, that 1960s Iron Man storyline where a Congressional investigation is trying to confiscate the Iron Man armor, probably indicates that I have lost all pretense of objectivity when it comes to the whole DC vs. Marvel thing.
And I quote:
"By placing these characters on pedestals as champions of justice and perfection, their creators also positioned them outside of the realm of ideology,"
and, in the following paragraph:
"Repressive State Apparatuses also hold no sway over these characters."
He goes on to argue that the absence of real-world/societal consequences for superheroes is what draws fans to read comics, and then follows this deduction with a statement that, "It should be noted, however, that this aspect of the comic world is changing. With each passing year, superheroes are becoming more involved in "real world" scenarios that mirror the current political and social problems. What this reveals about those who write and read comics is another article entirely.
What is clear, however, is that the change began in the mid 1980s with the publication of three new works in the realm of comic books-Frank Miller's The Dark Knight Returns, Art Spiegelman's Maus, and Alan Moore and Dave Gibbons' Watchmen. "
*headdesks* Comics dealt with "real world political and social problems" before 1986. Seriously, Mr. Hughes, have you ever read a single Marvel comic in your entire life? (look at the mood icon. See, Matt is irritated that you've forgotten he exists)
[Citation, for those who wish to be likewise annoyed: Hughes, Jamie A.: 'Who watches the watchmen?': ideology and 'real world' superheroes.
Journal of Popular Culture (Popular Culture Center, Bowling Green State Univ., OH) (39:4) [Aug 2006] , p.546-557.]
The fact that I felt instantly filled with the desire to email said random literary critic scans from Miller's Daredevil run and, oh, say, that 1960s Iron Man storyline where a Congressional investigation is trying to confiscate the Iron Man armor, probably indicates that I have lost all pretense of objectivity when it comes to the whole DC vs. Marvel thing.
And I quote:
"By placing these characters on pedestals as champions of justice and perfection, their creators also positioned them outside of the realm of ideology,"
and, in the following paragraph:
"Repressive State Apparatuses also hold no sway over these characters."
He goes on to argue that the absence of real-world/societal consequences for superheroes is what draws fans to read comics, and then follows this deduction with a statement that, "It should be noted, however, that this aspect of the comic world is changing. With each passing year, superheroes are becoming more involved in "real world" scenarios that mirror the current political and social problems. What this reveals about those who write and read comics is another article entirely.
What is clear, however, is that the change began in the mid 1980s with the publication of three new works in the realm of comic books-Frank Miller's The Dark Knight Returns, Art Spiegelman's Maus, and Alan Moore and Dave Gibbons' Watchmen. "
*headdesks* Comics dealt with "real world political and social problems" before 1986. Seriously, Mr. Hughes, have you ever read a single Marvel comic in your entire life? (look at the mood icon. See, Matt is irritated that you've forgotten he exists)
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