Julian Sanchez on how comic book heroes are taking on preemptive war, torture, warrantless spying, and George W. himself:
In one sense, this is nothing new. The very first issue of Captain America (1941) showed the star-spangled super-soldier punching out Adolf Hitler, prompting criticism from both Nazi sympathizers and those who considered der Führer Europe's problem. Superman and Batman hawked war bonds while facing down monstrous racist caricatures of buck-toothed Japs. Frank Miller's Batman: The Dark Knight Returns and Alan Moore's Watchmen -- works that transformed comics in 1986 by proving that illustrated tales of men in tights could be serious, adult art -- were both steeped in their Cold War milieu. (Moore took his title from the Roman poet Juvenal's famous query about political power: "Who watches the watchmen?")Nevertheless, the politically inspired stories of the "War on Terror" era have been remarkable not only for their ubiquity and sophistication, but also in the way they have exposed -- and sometimes exploded -- the political ideas embedded in the superhero genre itself. A famous 2002 cover of the German news magazine Der Spiegel depicted members of the Bush cabinet dressed as Rambo, Batman, Conan the Barbarian, and the "warrior princess" Xena, suggesting that neoconservatism is just comic-book logic applied to international affairs. But the efforts of comics writers to grapple with current events raise a corollary question: Is the superhero a natural neocon?
Read the rest (and comment) here. --The Editors
