Informational Synthesis

Superheroes in Comic Books and Cultural Significance

Superheroes in comic books and other graphic arts are becoming more popular in pop society. These statistics play a cultural role that has been studied by academics. In Panthers and Vixens, Jeffery examines the construction of the black female protagonist as an incomplete portrayal. Ghee examines the case of the portrayal of the black hero in comic books in Can, the Only Black Superheroes Please Stand Up. He demonstrates the importance of cultural significance in order for the Black hero to act as an ideal focal point for the creation of Black cultural identity. This is lacking in the mass media. Anton, in The Nietzschen Influence in The Incredibles and the Sidekick Revolt, presents a case of the evolution of the superhero identity in line with Nietzsche’s hypothesis that resentment brews over time. The superheroes are a reflection of popular culture and are also central to the creation of cultural identities. By combining views from the three essays, this essay illustrates that the Black culture is largely underrepresented and the representation is even inaccurate, in the superhero culture.

Comics as Cultural Constructs

A common point for all the essays is the observation that comics and other visual arts are a reflection of the common societal understanding of concepts. Like other arts, comics are created based on what we know or perceive to be ideal. The results of these creations, therefore, show how society understands issues, making these creations largely cultural constructs. Ghee describes the comics in recent history as containing the myths that “adhere to the archetypal dream and collective unconscious” (223). Superheroes are created as ideals. They are the beings that represent the best in us or the most common perception that society has of its members. The distinction of human beings based on their inherent capacities gives the more gifted class, in this case, the superheroes, the “will to power” or an “inner life to dominate and exploit” (Anton 212). This statement emphasizes the construction of superheroes as the ideals of the society. Gender roles are also embodied in the comics. The role of women is mostly defined by these visual arts as little more than sexual objects. Jefferey defines the portrayal as “sexual spectacles” (Jeffery 135). Through these depictions, the comics are a source of most of the gender stereotypes and also a reflection of the society’s understanding of the gender debate.

The Role of Comics in Cultural Identity

Comics are central to the development of a cultural identity. Therefore, the effects of the comics are felt just as much as the comics are used to reflect societal perceptions. The black culture has been most affected by this role of the comics. The comics are not only defined by culture but also “play a significant role in child identification and development” (Ghee 226). Consequently, such comics and the depiction of the black superhero are not only a reflection of the perception of the black community but also a way of identity construction. The children that watch these comics end up emulating the traits displayed therein. The cultural identity and role construction of comics are not just limited to the depictions therein. Rather, the comics go a step further to communicate the place for each character depicted therein. Anton emphasizes that “society runs most smoothly when each can do what he or she is by nature” (213). This statement emphasizes that the culture that the comics depict will most often be emulated by members of the Society, Children watching Batman are not just content to watch the performance. Rather, the role of super heroes as models of identity lies in the fact that every child who is watching these superheroes “wants to be them” and even express these desires in dress up parties and Halloween costumes (Anton 217). Since the emergence of Superman as a comic character, comic books have been “central to American popular culture” (Jeffery 133). The superhero defines what America stands for. The characters of superheroes inevitably shape us (Jeffery 133).

Inaccurate Representation of the Black Identity

The construction of the black identity in comics is insufficient. The creators of the comic culture are mostly members of the white community. The constructs will therefore often reflect white culture and ideology. This explains the presence of many white superheroes in the comics while the blacks are rarely featured, and if so, in minor roles or villain roles. There is a “dearth of serious culture-bound hero archetypes...that truly represent the affirming African centered values” (Ghee 227). This is in contrast to the pervasive redeeming values that are embodied by the white superheroes, which illustrates a sort of white supremacy in these comics. Even the black superheroines are cast in roles that are considered traditionally black even in the face of modernization and diversification. The changing times have done nothing to update this image in the comics. Jefferys points out that they are often “singers, actresses and models” (Jeffery 139). However, not all scholars agree on the necessity to have increased representation of the black community as a solution to the superhero dilemma. Rather, Nietzsche’s hypothesis decries the depiction of superheroes as a herald for public outcry and resentment. Anton observes that the cultural depictions are not the problem. The problem lies in everyone trying so hard to be what they are not (215). Not everyone can be super. However, the trajectory Anton predicts is that the resentment that brews amongst the population towards superheroes who do that which society considers the role of the ordinary man may be good for the black population that is rarely depicted playing these roles (Anton 219).

Importance of Black Creators in Depicting the Black Superhero

Another point of agreement is that it is inaccurate for non-Black artists to create the accurate image of the black superhero. The black superhero needs to be firmly ground in his culture. How can one do this without having a firm grasp on the culture itself? The psychological and cultural construction of the African American can only create a transgenerational mythology if they originate from the individual who understands them (Ghee 228). The European American falls short on this task. Often, when they take up the task of creating such heroes, the effect is that the African American is cast in a supporting or subordinate role. While this may be in keeping with the creator’s culture, it is not an accurate representation of the African American. Although characters like the Black Panther and Vixen represent the entrance of the black population into the comics scene, they are “depicted in a manner that is more problematic” (Jeffery 137). Black superheroines are often racialized and sexualized. Culture-bound relevance is essential for the positive reinforcement of identity development of any child. Therefore, for the black child, the best reference for culture as pertains to comic books lies in the mythologic heroic creations of an African American.

The Need for Inclusion of Black Creators

The three essays represent the situation of the black American in comic culture. The Black culture is largely underrepresented, and the representations often fall short of the reality. The solution to this representation is the inclusion of the black creators of comics works in the process. The black creator is best placed to understand the black culture.

Works Cited

Anton, Audrey. “The Nietzschean Influence in The Incredibles and the Sidekick Revolt.” The Amazing Transforming Superhero! Essays on the Revision of Characters in Comic Books, Films and Television (2007): 209.

Ghee, Kenneth. “Will the Real Black Superheroes Please Stand Up?!: A Critical Analysis of the Mythological and Cultural Significance of Black Superheroes.” Black Comics: Politics of Race and Representation (2013): 223-238.

Jeffery, A Brown. “Panthers and vixens: Black superheroes, sexuality, and stereotypes in contemporary comic books.” Black Comics: Politics of Pace and Representation (2013): 133-150.