Superhero Exam Notes PDF

Superhero exam notes: WEEK 1 Tim Faherty quotes Stan Lee, saying that why should comics be treated not like an art, it is very like movies for example. Therefore, an art form. Thiery Groensteen’s book on what 5 things devalued comics: Hybrid Form: Mixing text and images makes comics feel like a...

Superhero exam notes: WEEK 1 Tim Faherty quotes Stan Lee, saying that why should comics be treated not like an art, it is very like movies for example. Therefore, an art form. Thiery Groensteen’s book on what 5 things devalued comics: Hybrid Form: Mixing text and images makes comics feel like a less "pure" art form. Child-Centric: Many people still see comics as just for kids, limiting their perceived value. Seen as Caricature, Not Art: Comics are often dismissed as exaggerated, humorous art rather than serious, skillful work. Excluded from Art Movements: Comics didn’t join major 20th-century art movements, so they lack traditional "high art" status. Visual Overload: The small, dense images in comics can seem chaotic, making it hard for viewers to focus on individual images. Fredric Wertham: Comic Strips: Wertham believed that comic strips, like those in newspapers, often explored relevant social themes and contemporary issues. He saw these as more appropriate for mature audiences, as they engaged with real-world topics in a responsible way. Important for printing presses. Comic Books: Conversely, Wertham argued that comic books were designed for children but contained content he considered harmful, such as exaggerated violence, crime, and sensationalism. He believed these elements could negatively impact young readers by exposing them to content that wasn't suitable for their age. Pierre Bourdieu - French Sociologist who studied aesthetics, class, and power. Taste is socially produced, basically by cultural practices. Also education level. Upper classes use art to remain as an upper class, because taste in specific art may be done by only them and their rich cultural practices. High art - associated with prestige and upper class. (I.E. Opera). Low art - Lower class art with less prestige. (I.E. comics). Blends High Art and Low Art: Pop Art blurs the line between high culture (traditional fine art) and low culture (popular and commercial imagery), making art more accessible. Celebrates and Critiques Consumerism: By focusing on mass-produced products and media, Pop Art both celebrates and critiques the consumer-driven society. This passage highlights a shift in how comics are perceived within society. For much of their history, comics were dismissed by advocates of "legitimate" or "high" culture as low art, not worthy of serious consideration. In response to this marginalization, those involved in the comics world often embraced their outsider status, viewing it as a point of pride or even a source of creative freedom. However, this perspective is changing. The "new logic" mentioned refers to an evolving attitude where comics are increasingly recognized as a legitimate art form capable of cultural value and depth. Instead of arguing over whether comics qualify as "true art," the focus is now shifting towards assessing their sociological value—how they reflect, influence, and contribute to society. This suggests that comics are gradually overcoming historical prejudices, with more people acknowledging their artistic and cultural worth. - Beaty Comics Versus Art Week 2 Thomas Caryle reading summary: Supernaturalism is the belief that science events, like lightning, also have spiritual or divine meanings—like seeing lightning as a sign of Zeus's power, not just an electric charge. Ties both science and divine. In simple terms, this means that combining scientific and spiritual explanations creates a way of understanding that keeps growing and evolving. This understanding helps people feel and connect with something sacred or holy in a real, meaningful way. Humans weren't there at the beginning of the universe to see how it was created, so even the best scientists can't fully understand its deepest secrets. The "Maker" (or Creator) didn't share the complete plan of the universe with them, so they can't say they know everything about it. Scientists, like everyone else, have only seen a small part of this vast, endless mystery. In short, Carlyle is emphasizing that the true origins and nature of the universe are beyond human knowledge and scientific reach. Carlyle’s On Heroes Etymology and cultural evolution of "hero." Can be traced to demi-god in greek.Also the Greek goddess hera. In latin to safeguard. Carlyle's "Great Man Theory": History shaped by influential individuals. Six Types of Heroes - use the reading to give decrip. The Hero as Divinity - The Hero as Divinity is the oldest form of heroism and hero worship, according to Carlyle. Odin is not only a god associated with healing, death, and war, but also of wisdom and thought. Runes, symbols, magic The Hero as Prophet & The Hero as Poet The concept of the Hero as Prophet, as discussed in the provided text, refers to an individual who is seen as divinely inspired and who speaks with the voice of a god. This figure is considered to be a revealer of what humanity is to do, focusing on the moral side of the sacred mystery of existence. The Prophet is one who has penetrated into the divine mystery and is tasked with making it more impressively known to others. This role is contrasted with the Poet, who reveals what we are to love, emphasizing the aesthetic side of the mystery. Carlyle suggests that the Prophet and the Poet are both Vates (a term for a poet-prophet in ancient Rome), participating in the "open secret" of life's deeper meanings. They are united in their sincerity and their direct insight into the truths of existence, but they differ in their focus—the Prophet on duty and prohibition, the Poet on beauty and love. Prophets were claimed to have lots of problems in their childhood, and same for poets. They are figures who are attuned to things that others cannot. Doing so awakens others. (Immaculate perception) The Hero as Priest Priests, such as Martin Luther, are heroes of faith and moral guidance. They act as spiritual leaders, guiding people toward higher ethical or moral standards. Carlyle emphasizes the role of priests in shaping societal values and pushing against corruption​. The Hero as Man of Letters This quote describes the Hero as a Man of Letters (a writer, thinker, or intellectual) as someone who deeply engages with inner thoughts, ideas, and emotions. Unlike heroes who act in the physical world, this type of hero explores and understands the "inward sphere"—the world of knowledge, philosophy, and creativity. The Hero as King Kings, like Napoleon, embody the power to rule and bring order. Carlyle sees kingship as a culmination of various heroic qualities—command, wisdom, and authority. Ideal kings serve as moral and practical guides for society, embodying leadership and justice​. Carlye on Decline of heroism worship - Carlyle laments that this skepticism results in a disbelief in the existence of truly great men, which he sees as a sad symptom of the age. He emphasizes that throughout history, great men have been the indispensable saviors of their epochs, likening them to lightning that ignites the potential within society. Despite the decline in overt hero worship, Carlyle maintains that the admiration for great men is an enduring and vital element of human nature, serving as a foundation for society and history. Nietzsche - GOD IS DEAD - This idea brings the concept of God down to a human level, indicating that belief in God is a human creation—a product of human thought and culture rather than an absolute truth. Nietzsche saw this as a call for individuals to find meaning and values within themselves rather than relying on religious or external authority. In essence, "God is dead" implies that humans must now create their own values and purpose in a world where traditional beliefs are no longer central. This means that Nietzsche believed people should look within themselves for meaning and purpose, rather than relying on organized religion or traditional beliefs to tell them how to live. By "extreme individualism," Nietzsche encouraged each person to create their own values and to become strong and independent in their thinking. Instead of following rules set by religion or society, he thought individuals should develop their own beliefs and live according to their personal values. The Übermensch is Nietzsche’s idea of a person who surpasses ordinary limits. Humans should strive to evolve beyond their current selves through inner growth, moving from basic instincts (animal) to higher potential (Übermensch). Most people stay “asleep” in life, while the “awake” work to reach this ideal. An aphorism is a short, powerful statement that captures a deep truth or insight. Nietzsche’s work, Thus Spoke Zarathustra, is filled with these, making it challenging but rewarding to read—like finding "sapphires in the mud" (precious insights in complex ideas). Nietzsche believed that aphorisms should be memorized and deeply understood rather than just read. Slides 19 to 23 provide a historical overview of comics and the concept of the “superman” in popular culture: Slide 20: The Bayeux Tapestry Early Sequential Art: The Bayeux Tapestry, created in the 11th century, is seen as an early form of sequential storytelling. It visually narrates the Norman Conquest of England. Influence on Comics: Considered a precursor to comics for its use of images in a continuous story format, blending art and narrative without written speech. Slide 21: Rodolphe Töpffer Pioneer of Modern Comics: Töpffer, a 19th-century Swiss artist, is recognized as one of the first to formalize the comic format with sequential panels, combining text and imagery. Storytelling Style: His work, characterized by cartoonish art and engaging stories, laid the foundation for future comics by introducing panel-based storytelling and interdependent images and text. Slide 22: Late 1800s Comics Characters Key Characters: Introduction of iconic characters like The Yellow Kid and The Katzenjammer Kids, who became popular in American newspapers. Early Comic Strips: These strips marked the formal beginning of the American comic strip industry, setting the stage for the modern comic format. Slide 23: 1903: The Scarlet Pimpernel Masked Hero Influence: The Scarlet Pimpernel, a novel published in 1903, introduced one of the first masked heroes with a secret identity. Impact on Superhero Genre: This character inspired later masked heroes, including Superman, Batman, and other early superheroes, by establishing the double life trope (hero vs. ordinary identity). Superman and his shift: Early depictions of the superman figure in science fiction often portrayed him as a menace—a dangerous outsider with powers that threatened society. Characters like Frankenstein’s monster or H.G. Wells' Invisible Man symbolized fears about people with abnormal powers who could disrupt or dominate humanity. These "supermen" were often lonely, alienated, and seen as morally ambiguous, if not outright dangerous, representing anxieties around uncontrolled power and individuality.With the creation of Superman in 1938, however, this figure transformed into a hero. Unlike earlier supermen, Superman was selfless, law-abiding, and committed to protecting society. He represented "truth, justice, and the American way," embodying a shift toward viewing extraordinary power as something that could be used for the common good. This heroic superman reassured audiences, aligning immense power with ideals of morality, sacrifice, and support for societal values rather than rebellion against them. This shift from the superman as a menace to a hero reflects a broader cultural change in America—from fearing unchecked individual power to embracing it as a force for social good. Initially, the superman figure embodied anxieties about disruptive power and individuality, especially in a time of economic instability and societal change. The New Deal was a series of programs and reforms introduced by President Franklin D. Roosevelt in the 1930s to help the United States recover from the Great Depression. The economy was struggling, and many people were out of work, so the New Deal aimed to create jobs, provide financial support, and improve infrastructure. Key aspects of the New Deal included: Job Programs: Projects like building roads, schools, and parks to create employment. Financial Reforms: New rules for banks and businesses to prevent another economic collapse. Social Support: Programs like Social Security to help support the elderly, unemployed, and struggling families. Early Superman stories reflect New Deal values by portraying him as a defender of the underprivileged and a force for positive change. For example, he takes on corrupt businessmen, abusive employers, and criminals—mirroring the New Deal’s efforts to address economic and social inequalities. Superman became a symbol of hope and resilience, embodying the idea that power should be used to protect and serve society, much like the New Deal’s vision of a government that actively works to support its citizens. SHE ARGUES SUPERMAN IS NOT GOD LIKE BUT MORE HUMAN LIKE WITH POWERS, THUS HE IS NEW NOT INSPIRED BY GODS BUT AMERICAN VALUES. Nietzsche’s concept of the Übermensch relates to Carlyle’s ideas in On Heroes in that both see extraordinary individuals as powerful forces who shape society and inspire others. However, there are key differences: Individual Greatness: Both Nietzsche and Carlyle focus on individuals who possess unique strength and vision. For Carlyle, heroes are great figures (like poets, prophets, and kings) who lead and uplift society. Similarly, Nietzsche’s Übermensch is someone who achieves greatness by surpassing ordinary limitations and setting new values. Source of Values: Carlyle’s heroes are often rooted in traditional values, serving as moral guides within society, while Nietzsche’s Übermensch creates personal values beyond societal or religious norms, embodying extreme individualism. Inspiration vs. Transformation: Carlyle sees heroes as inspirational leaders who provide direction for society, whereas Nietzsche’s Übermensch is more about personal transformation, aiming for self-overcoming rather than guiding others. Week 3 Critical Vocabulary: McCloud emphasizes the need for a serious, scholarly approach to comics. He argues that lacking specific terms keeps comics from being fully understood or respected in the arts. Form and Content: McCloud discusses how comics’ visual elements influence meaning, unlike traditional literature where words stand alone. This interplay between image and text gives comics a unique storytelling capacity. Legitimizing Comics: McCloud contends that without a dedicated vocabulary, comics remain undervalued as “the bastard child of words and pictures” McCloud’s Definition: “Juxtaposed pictorial and other images in deliberate sequence, intended to convey information and/or produce an aesthetic response in the viewer” (p. 9). Juxtaposition and Sequential Art: McCloud, along with Alan Moore, stresses that juxtaposition (placing images next to each other in sequence) is essential in comics. It creates a unique narrative experience even without text, using the arrangement of visuals to build meaning​. Icons: Simplified images that represent complex ideas or objects. Example: A smiley face 😊 is an icon that represents happiness without needing detailed features. In comics, a stick figure can symbolize a person, allowing readers to project themselves onto the character. Amplification through Simplification: Simplifying an image emphasizes its core idea, making it universally relatable. Example: Cartoons often exaggerate emotions with simple expressions (like large eyes for surprise) to make feelings instantly clear, which is effective in comics for quick understanding. Realm of the Concept vs. Realm of the Senses: Comics often exist in the “realm of the concept” by using simplified visuals that convey ideas rather than realistic detail. Example: A cartoon heart symbolizes love without showing an anatomically correct heart. This approach lets readers focus on the concept (love) rather than physical details. Iconic Abstraction: Simplified character designs allow readers to project themselves onto characters, enhancing engagement and emotional connection with the story. Panels: Defined as individual frames that contain parts of the story, each panel represents a moment, action, or thought. Gutters: The spaces between panels play a unique role, creating “gaps” that readers mentally fill in, or “close.” McCloud calls this process closure, where readers construct the narrative by imagining what happens between panels. Reader Participation: Comics engage readers actively; the gutter invites readers to participate in the storytelling by filling in unseen actions or events​. Moment-to-Moment: Shows minimal change in action or time. Action-to-Action: Depicts a single subject undergoing a specific action. Subject-to-Subject: Switches between related subjects within the same scene. Scene-to-Scene: Jumps across time or space to a new scene. Aspect-to-Aspect: Shifts focus on different aspects of a place, mood, or idea within a scene. Non-Sequitur: Shows unrelated images, often for abstract or experimental effect Narrative Impact: These transitions control pacing, continuity, and thematic connections, influencing the reader’s experience and interpretation. McCloud argues that time in comics is not static. This concept challenges traditional views of time in visual storytelling, as time within comics is flexible and can be manipulated through elements like panel shape, pacing, and layout to convey different durations and emotional effects​. He also explains there is motion lines, which shows motion in a single frame. Color adds emotional depth to comics, shaping readers' perceptions. McCloud notes that color associations—such as red for anger or blue for calm—can vary across contexts and cultures. The development of color in comics also reflects technological advancements and economic factors. Wertham criticized the use of color in crime comics, claiming it exaggerated violence and immoral imagery​​. Piet Mondrian and James O’Barr as visual influencers in comics. Mondrian's minimalist style, focusing on primary colors and geometric shapes, contrasts with O’Barr’s gritty aesthetic in The Crow. McCloud identifies seven ways words and images interact in comics, each affecting the reader’s interpretive experience: Word-specific: Words provide the main message. Picture-specific: Images tell the story; words add minor detail. Duo-specific: Words and images convey the same message. Additive: Words or images enhance each other. Parallel: Words and images have separate but complementary narratives. Montage: Words are part of the visual. Interdependent: Neither words nor images make sense without the other​. In Seduction of the Innocent, Wertham argued that comics contributed to juvenile delinquency, emphasizing that violent imagery and inappropriate themes corrupted young readers. His criticism led to the establishment of the Comics Code Authority in 1954, which enforced strict guidelines on content. This slide likely reviews Wertham’s role in comic censorship, where he highlighted comics as morally degrading and harmful to youth​​. Wertham’s Seduction of the Innocent brought about intense scrutiny on comics, culminating in Senate hearings and the Comics Code, which prohibited explicit content. This slide may delve into the specifics of these restrictions, such as the removal of violence and respect for authority. The Code reshaped the industry, pushing publishers to sanitize their content significantly and marking a pivotal moment in comic history​​. Week 4 Parody of Superheroes: Superduperman by Kurtzman and Wood mocked Superman and Captain Marvel, presenting "Clark Bent" as an incompetent and absurd hero. Satirical Take on Tropes: Exaggerated typical superhero traits (muscles, costumes, moral clichés) to highlight the absurdity of the genre. Industry Critique: Criticized the commercial, formulaic storytelling in comics, especially the simplistic good-vs-evil narrative. Distinct Artwork: Wally Wood’s detailed, exaggerated art style amplified the humor, parodying hyper-masculine superhero visuals. Cultural Impact: Massive success for Mad, cementing it as a satirical force. Inspired future comics to tackle cultural critique and satire. CONVENTIONS OF EARLY HEROES. Early Hero’s Mission: Heroes generally had a pro-social mission, symbolizing a commitment to helping those in need. Powers: Superheroes had unique abilities with defined limitations. Identity: Dual identities and costumes, highlighting the distinction between personal and heroic selves​. Supporting Characters: Sidekicks and villains, less colorful than heroes, added complexity and narrative challenge. Antagonists: Supervillains often served as true oppositional forces, shaping the hero’s journey War themes appeared in comics even before the U.S. joined WWII. Following Pearl Harbor, Japanese antagonists were often depicted in caricatured, stereotypical ways, reflecting the wartime sentiment​. Propaganda and war themes in Superman and Captain america: Superman was seen fighting hitler in covers, Captain was the symbol of an American soldier and thus influenced others to join to be like him. Propaganda is a series of related communication acts that propagate, or spread, a particular interpretation of an event. Boy Commandos by Joe Simon and Jack Kirby targeted youth, blending adventure with patriotic themes. Comics in which 4 kids represent the allies and fight in the war. Popular for kids, and was used to promote the war effort. It tries to say thing like do waste food and stuff that could be used in the war. This is a story where the “sidekicks” (kids) take the main stage. The book tried to alleviate fears that the people may have had, it tried make sure that the people knew that the military was really strong. So again, instructional, educational, and propaganda mixed together. USA is Ready: A non-narrative comic illustrating military equipment and insignia, reinforcing national readiness and pride​. THIS SHOWS HOW USA + COMICS + WAR mixed in the comic world. This shows not only how important war was at that time and the environment as well, but how important comics were to the war effort, as the comics shifted to support the war effort for propaganda while also some turning to the war because it was a good move for commerce and to make money. The real photo comics were more of an adult based comic, and tried to blur the boundaries between reality and fantasy. The image of the strong guy, who worked out and became big and became the hero of the beach. Very superman-like, this is an ad however. Seduction of the innocent: “It instructs kids on how to do crimes”, and now there would be a criminal generation. Uptick in crime and juvenile delinquency, and more younger and younger kids are taking part in more crimes and different crimes. This is because of comics, according to him. He also says there is sexualization. Sexually messes up the minds of children. Younger and younger children commit more and more serious and violent acts. Even psychotic children did not act like this fifteen years ago - Kids crime got worse because of media like comics according to Wertham He lists many examples of violent acts committed by youth (including murder and rape), and attributes these acts to comic books. He also argued that comic books were stirring up sadomasochistic fantasies in children. Wertham also took particular issue with some of the homoerotic elements of superhero comics, such as the close relationship between the superhero and his sidekick (i.e. Batman and Robin) Discusses Robin’s role as Batman’s sidekick, which was intended to add appeal for younger readers but became a target in Wertham’s critique for its supposed homoerotic undertones​​. Supergirl was introduced as Superman’s cousin, broadening the scope of the superhero family and appealing to younger female readers by representing a strong female character in the superhero genre​. But she is shown to be in the domestic sphere, as she listens to superman and obeys him. Like he is the “man of the house”. Dual Identity and Domestic Role: Supergirl, as Kara Zor-El, is often shown balancing her life as a young woman with her superhero responsibilities. In her civilian life, she is sometimes placed in scenarios involving school, household chores, or caregiving roles, aligning with the traditional "girl-next-door" image. Subordinate Role to Superman: She was initially introduced as Superman's cousin and often depicted in a secondary, supportive role rather than as an independent hero with her own agency. Appearance and Femininity: Supergirl's depiction also leaned heavily on her appearance, with her costume and demeanor often emphasizing traditional femininity. Week 5 Miss lace and Pin up comics. Pin-up comics were a genre of comics that emerged primarily during the WWII era, designed with a distinctly sexualized portrayal of female characters intended to entertain and boost morale among soldiers. These comics blended humor, flirtation, and suggestive themes, showcasing women in a way that was appealing to a predominantly male audience. “Pin-up” comics such as Male Call also allowed for soldiers to “display their heterosexuality in a potentially homoerotic environment” This is how women were used in Comics during war for men, especially those in war. Shift toward comics targeting a “Home Front” readership, including female audiences. Example: Wanda the War Girl, representing capable, independent women contributing to the war effort. Inspired by real stories and characters like Tarpé Mills' Miss Fury, highlighting powerful women in male-dominated spheres​. She took the male jobs when the men left for war, highlights important aspects of women. Created by Tarpé Mills, Miss Fury presented Marla Drake, a New York socialite without superpowers who gains strength through a mystical costume. Unlike other heroines, Miss Fury was already successful and didn’t need her alter ego for freedom, challenging gender norms of the time​. She was one of the first heroines to follow the male hero conventions. She is similar to Batman and paved the way for heroines like Wonder woman and catwoman. She is very different from the usual superheroines, she is more independent. She has hobbies like fashion, drives her own car, and adopted the enemy’s child. She was also liberated with or without the costume, different from the rest of the heroes. - fought crime in both. The villain van kampf -she gets abused by Bruno - shows how women were treated. Gives us some empathy towards her. - she was also german thus evil. Wonderwoman was made as an alternative to comics from male comics. Marston argued that comics lacked strong, relatable female role models and aimed to make Wonder Woman a powerful, yet caring figure. Wonder Woman represented both strength and compassion, promoting a different kind of heroism than what was typically presented in male heroes​. Marston = creator. He wanted to destroy the bloodcurdling masculinity in comics. He creates wonderwoman to improve the comics spheres, so girls would want to be girls. Wonder woman was very successful, more than batman or superman at times. Marston claimed women are not weak, but more. He got help from his wife, son and others to make the comics and stories. He used his psych and mythology background for the stories. Wonderwoman saves a man in the beginning, a symbol of the roles reversing. She loves this man she saves, just like superman. Wonder woman shows how men and women both can objectify women, she wanted to show that women do not need powers to be heroes. She was a well rounded image of femininity. Wonder woman was critiqued for being in bondages, appealing to male fantasy. Wertham hates WW too, saying she is anti-men like Batman’s anti-woman. WW also mocks women obeying the antagonists. By faking obeying. However, in the end Roger (her love) gets the praise. Government campaign promoting women’s involvement in the workforce during WWII due to male labor shortages. An example of this was Rosie the Riveter Post-war, comics like Wonder Woman shifted toward domestic themes, encouraging women to return to traditional roles as men re-entered the workforce​. Civil war movement: Minorities and African Americans’ fight for equality influenced comic narratives. WWII participation spurred social mobility aspirations, with comics reflecting evolving views on justice and equal rights in the 1950s and 1960s​. More minorities in comics, like WW’s adoptive dad like figure I-Ching. Nubia the Black Wonder Woman, also seen as a new step into black characters in Wonder Woman. In the 1970s we see Storm from X-men come about. Representation of Racial Diversity: Storm was the first Black female superhero in mainstream American comics and one of the earliest Black characters to be depicted with respect, agency, and depth. Her introduction in the 1970s paralleled the social changes brought about by the civil rights movement of the 1950s and 1960s, when African Americans fought for equal rights, representation, and an end to segregation. Storm's character brought representation into comics in a way that resonated with readers seeking heroes that reflected diverse backgrounds. Context on the Cold War, emphasizing the fear of nuclear conflict that permeated post-WWII, especially during events like the Berlin Crisis (1961) and Cuban Missile Crisis (1962). These historical tensions shape the novel’s setting and reflect the anxieties driving the plot and character motivations in Watchmen​. Moore chose Richard Nixon over Ronald Reagan to avoid directly referencing the contemporary political figure. Moore’s critique of Thatcher’s Britain, which he describes as intolerant and oppressive, sets a dystopian tone reflective of the era’s social and political climate​. The origin of Watchmen after DC acquired Charlton Comics’ characters. Moore’s vision was to explore a more realistic impact of superheroes on society and politics, deviating from traditional comic book universes​. Analysis of Watchmen's opening page, which sets the dark, intense tone and introduces recurring visual motifs. The Doomsday Clock motif represents the countdown to a potential global catastrophe, underscoring the novel’s nuclear tension and sense of impending doom. Who watches the watchmen? questions the accountability of those in power, a central theme in Watchmen that scrutinizes unchecked authority​. Smiley Face: This symbol, tied to The Comedian, represents dark irony, with the bloodstain resembling a clock hand, hinting at the countdown to catastrophe. Rorschach Inkblot: Reflects the character Rorschach’s binary morality, with the ambiguous shapes symbolizing subjective interpretation and moral complexity. Silhouette of Lovers: The image of lovers' shadows left by a nuclear blast underscores the fragility of human life and the loss brought by nuclear warfare. 9-Panel Grid: This strict layout brings order to the narrative, allowing for precise storytelling, mirrored scenes, and controlled pacing, reflecting the inevitability of events. Extratextual Material: Inserts like book excerpts and letters deepen the world, revealing character backstories and societal perspectives, bridging fiction with reality. Different Narrators: Shifting perspectives show events through varied viewpoints, adding layers of interpretation and questioning reliability. Flashbacks: These scenes flesh out characters’ histories, gradually uncovering motives and building a complex, layered plot. Dr. Manhattan’s Experience of Time: His non-linear perception of time emphasizes determinism, contrasting with other characters’ linear experiences and underscoring existential themes. Explores how Doctor Manhattan’s perception of time as non-linear influences the narrative structure and thematic depth, reflecting philosophical ideas about determinism and free will. Focuses on Ozymandias’ pursuit of a utopian society, drawing parallels to historical figures who envisioned ideal worlds, often with destructive results. Suggests that even well-intentioned efforts for a perfect society can lead to unintended and catastrophic consequences. Week 8 Golden age - superman and Batman, many like them. Born during the world wars 2 (1938-1954). This also brings the Comics code, which takes us to the silver age. Silver age - Comics code restricted comics, thus limited many genres like horror. There were also underground comics being born in 1960s. this was a revolution against the comics code. (1954-1970) “The Comics Code Authority was a self-regulatory system established in 1954 to enforce moral guidelines and censor content in comic books, aimed at protecting younger readers.” The Bronze Age: brought underground comics to the surface, and comics become more darker once again. Like Spider-Man’s girlfriend getting killed in the comics. (1970 - 1986) Modern age - revitalized the genres and reimagined superhero’s, and even added a sense of realism today. Tries to incorporate adults. (Late 1980s - present) In Watchmen, Moore questions the superhero genre and superhero archetypes, trying to deconstruct them, and perhaps put an end to them. In The Dark Knight Returns, Miller focuses on the history of one character, Batman, and use the previous iterations of Batman to shape the past of the Bruce Wayne that we see in DKR. How it is more realistic: Batman becomes more old and shown to be more vulnerable. Before in the first comics, he was shown as the peak human with no physical flaw. Now however, he is old and weakened. Miller wanted emphasize that Batman would be bringing his World war 2 mentality into 1986, which is why he is different as times are different, which makes him standout. Batmobile is shown as a tank as well, instead of a cool fantasy car. Arkham Asylum is seen as a psychiatric hospital, instead of a weird jail type place. Violence and danger is depicted differently, as it shows adult attitudes towards danger. Emphasizes that danger can hurt you, instead of showing the opposite. Psychological realism Questions of invulnerability Complicated moral understanding of the world The comic is also more violent and shows the violence in the panels instead of the gutter. The first page: Shows Batman’s vulnerability, shows that he is not always in control. Rather that he lacks that control of his life, and shows how easily he can die. Batman's near death experience contrasts with the danger seen in Gotham. Iconography Gotham = New york City is bankrupt like NYC Gotham is seen as dystopian like NYC This birthed the guardian angels who were a vigilante organization in NYC. They wanted to do this to fight the growing crime. They reflected the superhero ideals, as they dressed up in a suit. This refers to the sons of Batman group. From book 2 - Harvey Dent hates Batman. Dent’s split personality references Batman, like how Batman is Bruce and bat both. They use Dent's split personality to transition to Bruce’s meaning behind Batman and his origins. His trauma comes up in the origins, this is what reminds him of why he wanted to be Batman (seen through the repeating fire bat face in the comics). Just like the fire bat, trauma is reoccurring. In The Dark Knight Returns, Batman embodies the Jungian "shadow" concept, confronting his darker side—rooted in his parents' murder—and channeling it to fight crime. Unlike other heroes, he doesn’t deny his shadow; instead, he uses it to instill fear in criminals. Two-Face serves as a mirror to Batman. Both represent the duality of light and dark, but where Batman controls and integrates his darker impulses, Two-Face is overtaken by them. This contrast highlights Batman's unique ability to use his darkness constructively, making him a symbol of balance between light and shadow in the fight against evil. Joker reflects only one side, the dark side I’m assuming or the shadow. He hates that people hide the shadow. Batman perceives Superman as a government puppet, obediently following orders, which reflects a clash in moral codes. This battle critiques simplistic morality in traditional comics, challenging readers to consider more nuanced ethical dilemmas. This comic was amidst the cold war. Set against the Cold War backdrop, Miller’s Gotham is embroiled in a geopolitical struggle that mirrors real events such as the Cuban Missile Crisis and proxy conflicts, contextualizing the narrative within a tense international atmosphere.