Defining a Superhero Comic

December 16th, 2021

Modern academia surrounding comics begins its discussion with the theoretical work of Will Eisner. As a practitioner, Eisner, famous for his creation of The Spirit (Eisner.1940-1952), branched out into discussing how comics work thanks to the many workshops he provided for aspiring creators. The 1985 release of Comics and Sequential Art (Eisner.1985) used Eisner’s established work to explain his own ideas of how comics work as a medium, as well as teach others to create comics. Eisner’s book discusses the medium through the means of a “how-to-guide” rather than pure discussion. Elements that he does touch on includes expressive anatomy (Eisner.1985:193), panels construction (Eisner.1985:39), and writing for sequential art (Eisner.1985:125). Eisner used his own work as a practical example throughout the book, primarily through annotations. However, this approach meant that the ideas he discusses are related to his own methods of work. This does not stop his work from being important or a point of discussion moving forward in comic book theory but does mean that Eisner’s scope is limited.

Eisner produced a definition for comics in his work, describing them with a dictionary definition with the term ‘Sequential Art’ (Eisner.1985:44). This is highlighted when he discusses the panel border, stating; ‘its primary function as frame in which to place objects and actions, the panel border itself can be used as part of the non-verbal “language” of sequential art’ (Eisner.1985:11). Eisner produced two more books alongside Sequential Art, namely Expressive Anatomy for comics and narrative (Eisner.2008), which was released posthumously, and Graphic Storytelling and Visual Narrative (Eisner.1996).

In Eisner’s later book, Graphic Storytelling and Visual Narrative, Eisner does attempt to expand his defined terms after receiving criticism for how broad the term ‘sequential art’ is.

Graphic narrative: a generic description of any story that employs image

to transmit an idea. Film and comics both engage in graphic narrative.

Comics: a form of sequential art, often in the form of a strip or a book in

which images and text are arranged to tell a story. Storyteller: the writer

or person in control of the narration. Sequential Art: images deployed in a

specific order.

(Eisner.1996: XVii)

Eisner introduced these clarifications in response to criticism by writers such as Scott McCloud, and his book Understanding Comics: The Invisible Art (McCloud.1993). Eisner’s definition of a storyteller also excludes the idea of the artist, colourist, inker, or editor as a storyteller, as he only indicates the writer or a person in control of the narrative. The broadness of this definition is a recurring problem with Eisner’s theoretical work.

Due to its simplicity, theorists found fault with Eisner’s definition of comics as simply sequential art. A core reason for this is that ‘sequential art’ could also describe artwork hung in sequence, such as in an art gallery, or film and animation reels. It also does not mention dialogue, as its exclusion from the definition could translate to dialogue discounting a comic from being sequential art.

Scott McCloud discusses this in his 1993 work, Understanding Comics. McCloud discusses how the term ‘sequential art’ is too broad, even when adding ‘Sequential Visual Art’ (McCloud.1993:7), McCloud also suggests definitions such as ‘Juxtaposed Sequential Visual Art’ (McCloud.1993:8), ‘Juxtaposed Sequential Static Images’ (McCloud.1993:8) and ‘Juxtaposed Static Images in Deliberate Sequence’ (McCloud.1993:8). However, he finds fault with each of these as it brings up the question of whether comics are ‘art’ as well as discounting the idea of words in comics. McCloud ultimately settles on the definition of ‘Juxtaposed Pictorial and Other Images in Deliberate Sequence’ (McCloud.1993:9). However, despite trying to narrow down a definition, McCloud continues to use Eisner’s original definition of ‘sequential art’.

Since the publication of Understanding Comics, theorists have commented and criticised McCloud’s work. This is particularly noted by Hannah Miodrag in her book, Comics and Language: Reimagining Critical Discourse on the Form (Miodrag.2013).

Convinced as McCloud may be, and influential as Understanding

Comics has prove, given the staggering multi-disciplinary of comic

studies, it is vital that critics are responsive to relevant scholarly

contexts if they are to engage in genuinely new thinking.

(Miodrag.2013:6-7)

Miodrag draws attention to the notion that comics theory must evolve, and to do this, they need to embrace a multi-disciplinary approach to comics. By relying on the work of McCloud, comic theory is holding itself back. Aaron Meskin discusses the various definitions that theorists have proposed in the wake of McCloud’s work in his 2007 paper, ‘Defining Comics?’ (Meskin.2007). Meskin primarily looks at the work of McCloud, Hayman & Pratt, Kunzle and Carrier. Meskin takes issue with Kunzle stating that the story in a comic book must tell a morality tale. Meskin uses this to argue that comics should have the same freedom to explore any type of narrative the creator desires, in the same manner as film or books. That the content of comics should not be bound by one specific type of storytelling.

Given comics can encompass any type of storytelling, it is important to define the Superhero genre, as well as what a superhero is.

The working definition of the Superhero has its roots in the April 1940 court case between Detective Comics and Bruns Publication (Circuit Courts of Appeals.1940). The case determined whether Bruns Publication had infringed on Detective Comics’ trademark for Superman with their Wonder Man character due to similarities. This is the first of many lawsuits and trials revolving around trademark disputes and characters appearing similar to others. The judge ruled that the character did indeed violate DC’s copywrite, as they were similar in terms of ‘Identity’, ‘Mission’, and ‘Powers’.

In both his 2006 book Superhero: The Secret Origin of a Genre (Coogan.2006) and his 2009 paper ‘The Definition of the Superhero’ (Coogan.2009), Peter Coogan expanded upon the parameters given during the April 1940 court case. Primarily, the criteria Coogan defines can be grouped into four categories. ‘Mission’ (Coogan.2009:77), an overarching mission such as wanting to eliminate crime, such as with Batman. ‘Powers’ (Coogan.2009:78), which takes the form of power over regular character, whether this is actual powers such as the Flash’s Super Speed, or power that comes from status or technology. ‘Identity’ (Coogan.2009:78), creating a persona or separate identity to their everyday identity, and finally ‘Costume’ (Coogan.2009:79), a signifying piece of clothing. Superman in a red, blue and yellow outfit, including a cape, boots, trunks and an emblem across his chest. The civilian identity consists of pushing back hair, plain clothing, and thick glasses to distinguish himself from the Superman persona.

The relationship between Costume and Identity is noted in superhero comics, as Barbara Brownie and Danny Graydon explore in their book The Superhero Costume (Brownie & Graydon.2016). They state that ‘the relationship between dress and behaviour is so commonly understood that people will modify their behaviour to suit their clothes’ (Brownie & Graydon.2016:34). Costumes are defining signifiers of a superhero in comics, particular colours and iconography can mentally stand in for the hero in question.

In his 2021 Conference Paper, ‘The son becomes the father, and the father becomes the son: Parenthood as a Key Evolution of the Mythology of Superman’ (Graydon.2021), Graydon suggests a fifth definition required for defining a superhero, one dependant on time. This is the concept of ‘Legacy’ (Graydon.2021), the passing on of the previously discussed elements such as Identity, Mission, Powers and Costume. The example Graydon uses is Jonathan Kent, the son of Superman and Lois Lane, and the current Superman of Earth (Taylor & Timms.2021), however this could also be applied to characters such as Green Lantern and the Flash, as the mantel has been passed to various characters across DC’s history. The adding of ‘Legacy’ to the Superhero definition is one dependant on the passing of time and amplified by the serial nature and long form storytelling seen in comic books.

In Authorizing Superhero Comics: On the Evolution of a Popular Serial Genre (Stein.2021), Daniel Stein identifies five core aspects of the Superhero Comic.

I understand superhero comics as (a) evolving narratives driven by a continuing feedback loop of production

and reception […]; (b) as narratives of recursive progression that must rework their past as they

renew themselves toward an open future […]; (c) as narratives of proliferation that utilize authorization

conflicts to generate genre diversification […]; (d) as self-observing system and actor-networks that

constantly monitor and manage their own progress by employing human practitioners … for purposes

of self-reproduction […]; and (e) as agents of capitalist self-reflexivity that create systemic trust in the

improbable reality of their own – and hence their own culture’s – persistence.

(Stein.2021:6)

Stein takes his clarification from the work of Ruth Mayer and Frank Kelleter. Breaking down Stein’s understanding, then superhero comics are the following:

· An evolving narrative driven by continuous feedback and production,

· Narratives that give the illusion of progression and leading to an open possibility of storytelling in the future,

· An increasing number of narratives using authorized characters to generate a diverse range of stories.

· A medium that is dependant on both creators and fan feedback to further the industry and grow the number of stories, and

· A product of capitalism building a world where fans are invested. Which leads to more capital for the controlling company.

These parameters for defining a superhero comic rely on the passage of time, both real world publication time and in story continuity. The evolving narrative and the illusion of progression both imply a furthering of the characters as well as creating a history. While suggesting open possibilities for the future gives the characters a timeline. For real world publication, this tells the readers and by extension customers, that there are past stories and well as future instalments to read and buy. The real-world passage of time, especially over decades, requires new creators. Many of these began as fans, who then create new fans with their work. A perpetual cycle and legacy created by time.

Bibliography:

• Brownie, B. & Graydon, D. (2016) The Superhero Costume: Identity and Disguise in Fact and Fiction. Bloomsbury Academic: London.

• Circuit Court of Appeals Second Circuit (1940) Detective Comics v Bruns Publication, 11 F.2d 432 (2nd Cir. 1940). [ONLINE] Justia US Law. Available from: https://law.justia.com/cases/federal/appellate-courts/F2/111/432/1503080/ [Last Accessed: 11.10.2021]

• Coogan, P. (2006) Superhero: The Secret Origin of a Genre. Monkey Brain Books: Austin.

• Coogan, P. (2009) The Definition of the Superhero. A Comic Studies Reader. pp. 77-93. University of Mississippi: Mississippi.

• Eisner, W. (1985) Comics and Sequential Art: Principles and Practices from the Legendary Cartoonist. W.W. Norton & Company, Inc: New York.

• Graydon, D. (2021) The Son Becomes the Father, and the Father Becomes the Son...: Parenthood as a Key Evolution of the Mythology of Superman. The Fifth Global Superhero Conference. Mullheirm, Germany. September 11th.

• McCloud, S. (1993) Understanding Comics: The Invisible Art. Harper Collins Publishing: New York.

• Meskin, A. (2007) Defining Comics? The Journal of Aesthetic and Art Criticism. 65:4 Fall, 2007 pp369-379

• Miodrag, H. (2013) Comics and Language: Reimagining Critical Discourse on the Form. University of Mississippi Press: Mississippi.

• Stein, D. (2021) Authorizing Superhero Comics: On The Evolution of a Popular Serial Genre. Ohio State University Press: Columbus.

• Wolk, D. (2021) All of the Marvels: An Amazing Voyage into Marvel's Universe and 27,000 Superhero Comics. Penguin Random House: New York.