Did Marvel Nab the Idea for Its Most Famous Superhero from a Popular

Total Page:16

File Type:pdf, Size:1020Kb

Did Marvel Nab the Idea for Its Most Famous Superhero from a Popular 31 UNTANGLING New York Post, SPIDER WEB Wednesday, July 15, 2015 Did Marvel nab the idea for its most famous superhero from a nypost.com popular Brooklyn costume seller? ByREED TUCKER the company, he came across catalogs from the 1950s, and one particular image ONE of this might have left him scratching his head. happened were it not for one There, in one 1954 circular, was an unfortunate Spider-Man fan offering for a “Spider Man” costume that whose boiler broke down. looked slightly different from the one he Back in 2006, comic book had just purchased. The get-up had a and toy dealer John Cimino spider logo on the chest and a distinc- bought a collection from a tive web pattern across the bodysuit N seller who needed money and face mask. for a new hot-water heater. Within the In other words, it immediately 62 assortment of pop-culture oddities for called to mind Marvel’s Spider- 19 Man, who wouldn’t be introduced -Man which Cimino paid $500 was a cheap, Spider vel rayon-and-cotton Halloween costume for another eight years. in Mar from the 1960s featuring Spider-Man. “I thought, hmm, that’s weird,” debuts “I didn’t think twice about it,” Cimino says Cimino, who runs Mas- comic. tells The Post. He tossed it in his base- sachusetts’ Saturday Morning ment. Collectibles, selling online and But Cimino would later give that at shows. costume a closer look, and what he dis- The dealer, however, thought the covered has led to one of the more puz- costume was simply a prototype and zling mysteries in the superhero world, and might muddy the origin story of one See COSTUME on Page 32 of the world’s most well-known — and lucrative — characters. Marvel Comics’ Spider-Man first appeared in 1962’s “A mazing Fantasy” No. 15. He was created by writer-editor Stan Lee and artist Steve Ditko. Lee has said that the hero was inspired by a 1930s pulp crime fighter called the Spider. Ditko designed the costume to “fit in with the powers he had,” the artist wrote in a 1990 issue of Robin Snyder’s “History of the Comics.” But could the illustrator have actually found inspiration in a child’s costume? That Spidey suit Cimino bought was produced by Ben Cooper, Inc., a now- defunct Brooklyn company founded in ttle 1937. The costumer originally created Tu theatrical wardrobes but soon moved m into kids’ Halloween outfits — many To of them licensed, including a 1937 line based on Disney’s “Snow White and the Seven Dwarfs.” After reading a book about midcentu- ry collectibles, Cimino, 41, re-examined his Ben Cooper costume and quickly 54 y became obsessed with the company. 19yn compan “I started digging deeper,” he says. Brookl “Spider “I dug and dug and dug.” s this This recently unearthed mask (left) from a As he continued researching sell costume. Brooklyn costume maker predates Marvel’s first Man” Spider-Man comic (above) by eight years. 32 pulsecontroversy SPINNING A SUPERHERO nypost.com From COSTUME on Page 31 THE AMAZING was never produced. Until, ORIGINS OF that is, he got a call from a seller who once owned a SPIDER-MAN five-and-dime store and had some leftover inventory in an old barn. Stashed among the piles were a few old Ben Cooper Halloween costumes, Wednesday, July 15, 2015 including that mysterious Spider Man from 1954. “I saw it, and I thought, Holy s-- t! It does exist!” Cimino says. “I didn’t jump around, but I was s - - - ting my pants.” New York Post, Ben Cooper costumes were once ubiquitous. The company reportedly owned 1954: between 70 and 80 percent NewYork of the Halloween market costume in the ’60s. In 1963, Cooper com- moved some 2.5 million pany Ben units. Cooper, “Ben Cooper was 10 miles Inc., sells from Marvel’s offices,” outfit called Cimino says. “Ben Cooper “Spider Man.” ruled Halloween in New Marvel Comics Yo rk City, so Ditko had to artist Jack Kirby is have seen this costume. John Cimino and his daughter rumored to have worked briefly for When he got the assignment Bryn hold the second 1950s Nicolaus for Spider-Man, maybe Spider Man costume (left) and the company, perhaps something came back when the first licensed Spidey costume designing costumes. he was designing it. It’s so from 1963 — both were made by Czarnecki Late 1950s: Ben much like the Ben Cooper.” Brooklyn company Ben Cooper, Inc. Cooper alters its“Spider Late last year, Cimino Man” costume design, mailed photos of the yellow per, a company that was swapping the bag-like 1950s costume to Ditko, 87, already producing a Spider mask for a yellow, plastic who still works near Times Man costume, be interested spider’s web.The new Square but shuns publicity in licensing Marvel’s Spider- design is sold until 1962. and hasn’t done a formal Man long before the comic 1962: Writer-editor interview or taken a public character achieved main- Stan Lee assigns photo in decades. The artist stream popularity? Kirby to pro- sent back a terse, handwrit- “When Spider-Man duce Mar- ten reply. hit the newsstands vel’s new “The burden of proof is in 1962, I think Ben comic, on the person who makes Cooper saw it and “Spider- the assertion, claim, charge,” thought it looked like Man.” Ditko wrote. “Some clip- his costume,” Cimino The artist pings, etc., are not rational says. “Then he went to draws a few proof of anything but some [Marvel head] Martin Stan Lee pages, but clippings, etc.” Goodman, and I think Lee deems Then again, the similari- they came to a deal where them not ties may be down to another Nicolaus Cooper said, ‘Listen, this right and hires Steve Dit- Marvel artist. Jack Kirby, The earliest costumes from the looks a bit like mine.’ I don’t ko instead. Ditko claims who died in 1994, claimed ’50s (left) are yellow, while the Czarnecki think it was a big deal.” to design costume. a few times that he created licensed ones have the now As for Stan Lee, Cimino August 1962 (cover Spider-Man, and a 1975 familiar red-and-blue motif. once met the Marvel hon- date): Spider-Man issue of FOOM!, a Marvel- cho at an event and asked debuts in“Amazing produced fan magazine, everyone involved has a dif- Where the story gets even a year earlier than anything him about the mysterious states, “It was Jack Kirby ferent recollection. Marvel stranger is when Cimino previously known. Just three licensing deal. Lee had no Fantasy” No. 15. who designed Spider-Man’s declined comment through went back to that original costumes are now known to recollection of the costume. March 1963 (cover costume.” a representative.) licensed Spider-Man exist, and Cimino has been “No one is going to talk date): The hero’s solo After all, Stan Lee did Ben Cooper’s records costume he’d bought from offered $30,000 for his. about this, because there are title,“TheAmazing Spi- originally tap Kirby to were destroyed in a 1989 the man who needed a The licensed costume has billions of dollars at stake,” der-Man,” hits shelves. Cimino says. “You don’t draw Spider-Man, and fire, and the company was new boiler. He realized the a red mask — not yellow, October 1963: Ben know if the Ben Cooper the artist reportedly cre- sold in 1992, but rumor copyright on the packaging as the 1954 Ben Cooper Cooper strikes deal ated five pages before Lee has it that in the 1950s, and costume said it was did — though both have heirs are going to come out with Marvel — terms changed his mind and gave Kirby worked briefly for produced in 1963, a few the big spider eyes with of the woodwork and sue or unknown — and begins the assignment to Ditko. the company. Could he have months after Spider-Man’s black outlines. The licensed something.” selling a licensed Spider- (According to Ditko, Kirby’s designed that 1950s Spider first appearance. Turns out jumpsuit is partially yellow If they do, expect to find Man costume, making it version of Spider-Man Man costume before repur- it was actually Marvel’s on the chest, with blue pants them hanging from a lamp- the comic company’s first looked nothing like the hero posing it for Marvel a few very first piece of licensed and sleeves. post, tangled in webbing. piece of merchandise. we know today — though years later? merchandise, hitting shelves So why would Ben Coo- [email protected].
Recommended publications
  • Fantastic Four Compendium
    MA4 6889 Advanced Game Official Accessory The FANTASTIC FOUR™ Compendium by David E. Martin All Marvel characters and the distinctive likenesses thereof The names of characters used herein are fictitious and do are trademarks of the Marvel Entertainment Group, Inc. not refer to any person living or dead. Any descriptions MARVEL SUPER HEROES and MARVEL SUPER VILLAINS including similarities to persons living or dead are merely co- are trademarks of the Marvel Entertainment Group, Inc. incidental. PRODUCTS OF YOUR IMAGINATION and the ©Copyright 1987 Marvel Entertainment Group, Inc. All TSR logo are trademarks owned by TSR, Inc. Game Design Rights Reserved. Printed in USA. PDF version 1.0, 2000. ©1987 TSR, Inc. All Rights Reserved. Table of Contents Introduction . 2 A Brief History of the FANTASTIC FOUR . 2 The Fantastic Four . 3 Friends of the FF. 11 Races and Organizations . 25 Fiends and Foes . 38 Travel Guide . 76 Vehicles . 93 “From The Beginning Comes the End!” — A Fantastic Four Adventure . 96 Index. 102 This book is protected under the copyright laws of the United States of America. Any reproduction or other unauthorized use of the material or artwork contained herein is prohibited without the express written consent of TSR, Inc., and Marvel Entertainment Group, Inc. Distributed to the book trade in the United States by Random House, Inc., and in Canada by Random House of Canada, Ltd. Distributed to the toy and hobby trade by regional distributors. All characters appearing in this gamebook and the distinctive likenesses thereof are trademarks of the Marvel Entertainment Group, Inc. MARVEL SUPER HEROES and MARVEL SUPER VILLAINS are trademarks of the Marvel Entertainment Group, Inc.
    [Show full text]
  • Anti-Hero, Trickster? Both, Neither? 2019
    Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Tomáš Lukáč Deadpool – Anti-Hero, Trickster? Both, Neither? Master’s Diploma Thesis Supervisor: Jeffrey Alan Vanderziel, B.A. 2019 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Tomáš Lukáč 2 I would like to thank everyone who helped to bring this thesis to life, mainly to my supervisor, Jeffrey Alan Vanderziel, B.A. for his patience, as well as to my parents, whose patience exceeded all reasonable expectations. 3 Table of Contents Introduction ...…………………………………………………………………………...6 Tricksters across Cultures and How to Find Them ........................................................... 8 Loki and His Role in Norse Mythology .......................................................................... 21 Character of Deadpool .................................................................................................... 34 Comic Book History ................................................................................................... 34 History of the Character .............................................................................................. 35 Comic Book Deadpool ................................................................................................ 36 Films ............................................................................................................................ 43 Deadpool (2016)
    [Show full text]
  • Limits, Malice and the Immortal Hulk
    https://lthj.qut.edu.au/ LAW, TECHNOLOGY AND HUMANS Volume 2 (2) 2020 https://doi.org/10.5204/lthj.1581 Before the Law: Limits, Malice and The Immortal Hulk Neal Curtis The University of Auckland, New Zealand Abstract This article uses Kafka's short story 'Before the Law' to offer a reading of Al Ewing's The Immortal Hulk. This is in turn used to explore our desire to encounter the Law understood as a form of completeness. The article differentiates between 'the Law' as completeness or limitlessness and 'the law' understood as limitation. The article also examines this desire to experience completeness or limitlessness in the work of George Bataille who argued such an experience was the path to sovereignty. In response it also considers Francois Flahault's critique of Bataille who argued Bataille failed to understand limitlessness is split between a 'good infinite' and a 'bad infinite', and that it is only the latter that can ultimately satisfy us. The article then proposes The Hulk, especially as presented in Al Ewing's The Immortal Hulk, is a study in where our desire for limitlessness can take us. Ultimately it proposes we turn ourselves away from the Law and towards the law that preserves and protects our incompleteness. Keywords: Law; sovereignty; comics; superheroes; The Hulk Introduction From Jean Bodin to Carl Schmitt, the foundation of the law, or what we more readily understand as sovereignty, is marked by a significant division. The law is a limit in the sense of determining what is permitted and what is proscribed, but the authority for this limit is often said to derive from something unlimited.
    [Show full text]
  • NEW THIS WEEK from MARVEL... Wolverine #1 Guardians of the Galaxy #2 Fantastic Four #19 Captain America #19 Daredevil #18 New Mu
    NEW THIS WEEK FROM MARVEL... Wolverine #1 Guardians of the Galaxy #2 Fantastic Four #19 Captain America #19 Daredevil #18 New Mutants #7 Captain Marvel #15 Deadpool #3 Marauders #8 Marvels Voices #1 Revenge of Cosmic Ghost Rider #3 (of 5) Conan the Barbarian #13 Amazing Mary Jane #5 Valkyrie Jane Foster #8 2020 Machine Man #1 (of 2) Ghost-Spider #7 Marvels Black Widow Prelude #2 (of 2) Atlantis Attacks #2 (of 5) Runaways #30 True Believers Iron Man 2020 Jocasta ($1) NEW THIS WEEK FROM DC... Batman #89 Dceased Unkillables #1 (of 3) Justice League #41 Flash Forward #6 (of 6) Legion of Super Heroes #4 Nightwing #69 Teen Titans #39 Aquaman #57 Joker Killer Smile #3 (of 3) Low Low Woods #3 (of 6) Wonder Woman Dead Earth #2 (of 4) Superman's Pal Jimmy Olsen #8 (of 12) Wonder Twins #12 (of 12) Titans Burning Rage #7 (of 7) Wonder Woman Giant #3 Lucifer #17 Superman Smashes the Klan #3 (of 3) Dollar Comics New Teen Titans #2 NEW THIS WEEK FROM IMAGE... Plunge #1 (of 6) Undiscovered Country #4 On the Stump #1 American Jesus New Messiah #3 Oblivion Song #24 Spawn #305 Middlewest #15 Bitter Root #6 Deadly Class #43 Family Tree #4 Old Guard Force Multiplied #3 (of 5) Hardcore Reloaded #3 (of 5) Lucy Claire Redemption #3 ALSO NEW THIS WEEK... Red Mother #3 Bang #1 (of 5) Godkillers #1 Skulldigger & Skeleton Boy #3 (of 6) Bloodshot #0 Canopus #1 Five Years #8 Doctor Tomorrow #1 (of 5) Goon #8 Hellboy & the BPRD Return of Effie Kolb #1 (of 2) Heartbeat #4 (of 5) Red Sonja Age of Chaos #2 Adventures of Byron One Shot Black Clover Vol.
    [Show full text]
  • The Gospel According to Marvel
    CHRISTIAN RESEARCH INSTITUTE PO Box 8500, Charlotte, NC 28271 Feature Article: JAF1383 THE GOSPEL ACCORDING TO MARVEL by John McAteer This article first appeared in the CHRISTIAN RESEARCH JOURNAL, volume 38, number 03 (2015). For further information or to subscribe to the CHRISTIAN RESEARCH JOURNAL, go to: http://www.equip.org/christian-research-journal/. SYNOPSIS Over the past decade, there has been a revival of interest in comic book superheroes, driven in large part by the Disney-owned Marvel Comics brand, publishers of such characters as Spider-Man, the X-Men, the Avengers, and more. Every culture has had its own heroes, from Hercules to King Arthur to the Lone Ranger, but the phenomenal popularity of Marvel superheroes in recent years suggests that Marvel’s unique approach to envisioning heroism is, for better or worse, feeding some sort of spiritual hunger in American culture. In the 1960s, Marvel transformed the entire comic book industry by introducing heroes who were ordinary people that found themselves with unique abilities and struggled to overcome personal weaknesses to use those abilities for the benefit of those in need. Marvel’s attempt to ground their heroes in a more realistic world than other superheroes led to at least two questionable results. First, the Marvel universe tends to avoid genuinely supernatural phenomena, instead explaining unusual events in science fiction terms. Second, as popular culture has coarsened in the decades since the 1960s, Marvel’s flawed heroes have had to become more violent to maintain their apparent psychological realism. This means that comic books are now less appropriate for children than they were in the past.
    [Show full text]
  • Uncanny Xmen Box
    Official Advanced Game Adventure CAMPAIGN BOOK TABLE OF CONTENTS What Are Mutants? ....... .................... ...2 Creating Mutant Groups . ..... ................ ..46 Why Are Mutants? .............................2 The Crime-Fighting Group . ... ............. .. .46 Where Are Mutants? . ........ ........ .........3 The Tr aining Group . ..........................47 Mutant Histories . ................... ... ... ..... .4 The Government Group ............. ....... .48 The X-Men ..... ... ... ............ .... ... 4 Evil Mutants ........................... ......50 X-Factor . .......... ........ .............. 8 The Legendary Group ... ........... ..... ... 50 The New Mutants ..... ........... ... .........10 The Protective Group .......... ................51 Fallen Angels ................ ......... ... ..12 Non-Mutant Groups ... ... ... ............. ..51 X-Terminators . ... .... ............ .........12 Undercover Groups . .... ............... .......51 Excalibur ...... ..............................12 The False Oppressors ........... .......... 51 Morlocks ............... ...... ......... .....12 The Competition . ............... .............51 Original Brotherhood of Evil Mutants ..... .........13 Freedom Fighters & Te rrorists . ......... .......52 The Savage Land Mutates ........ ............ ..13 The Mutant Campaign ... ........ .... ... .........53 Mutant Force & The Resistants ... ......... ......14 The Mutant Index ...... .... ....... .... 53 The Second Brotherhood of Evil Mutants & Freedom Bring on the Bad Guys ... .......
    [Show full text]
  • SPIDER-MAN: a BUMPY RIDE on BROADWAY the Broadway Production of “Spider-Man: Turn Off the Dark” Suffered from Vast Expenses and Discord
    FROM THE NEW YORK TIMES ARCHIVES SPIDER-MAN: A BUMPY RIDE ON BROADWAY The Broadway production of “Spider-Man: Turn Off the Dark” suffered from vast expenses and discord. (Sara Krulwich/The New York Times) TBook Collections Copyright © 2015 The New York Times Company. All rights reserved. Cover photograph by Sara Krulwich/The New York Times This ebook was created using Vook. All of the articles in this work originally appeared in The New York Times. eISBN: The New York Times Company New York, NY www.nytimes.com www.nytimes.com/tbooks Broadway’s ‘Spider-Man’ Spins A Start Date By PATRICK HEALY February 24, 2009 The widely anticipated new musical “Spider-Man, Turn Off the Dark,” with music and lyrics by Bono and the Edge and directed by Julie Taymor (“The Lion King”), took a big swing toward a Broadway debut on Tuesday: the producers announced that the show would begin previews on Jan. 16 at the Hilton Theater. The musical, produced by Hello Entertainment/David Garfinkle, Martin McCallum, Marvel Entertainment and Sony Pictures Entertainment, is to open on Feb. 18. Industry insiders have said its budget would be the largest in Broadway history, about $40 million; a spokesman for the show, Adrian Bryan-Brown, said on Tuesday that the producers would not comment on the dollar amount. ‘Spider-Man’ Musical Names 2 Of Its Stars June 27, 2009 Evan Rachel Wood will be Mary Jane Watson and Alan Cumming will star as Norman Osborn (a k a Green Goblin) in the upcoming Broadway musical “Spider-Man, Turn Off The Dark,” the producers announced on Friday.
    [Show full text]
  • Marvel January – April 2021
    MARVEL Aero Vol. 2 The Mystery of Madame Huang Zhou Liefen, Keng Summary THE MADAME OF MYSTERY AND MENACE! LEI LING finally faces MADAME HUANG! But who is Huang, and will her experience and power stop AERO in her tracks? And will Aero be able to crack the mystery of the crystal jade towers and creatures infiltrating Shanghai before they take over the city? COLLECTING: AERO (2019) 7-12 Marvel 9781302919450 Pub Date: 1/5/21 On Sale Date: 1/5/21 $17.99 USD/$22.99 CAD Paperback 136 Pages Carton Qty: 40 Ages 13 And Up, Grades 8 to 17 Comics & Graphic Novels / Superheroes CGN004080 Captain America: Sam Wilson - The Complete Collection Vol. 2 Nick Spencer, Daniel Acuña, Angel Unzueta, Paul Re... Summary Sam Wilson takes flight as the soaring Sentinel of Liberty - Captain America! Handed the shield by Steve Rogers himself, the former Falcon is joined by new partner Nomad to tackle threats including the fearsome Scarecrow, Batroc and Baron Zemo's newly ascendant Hydra! But stepping into Steve's boots isn't easy -and Sam soon finds himself on the outs with both his old friend and S.H.I.E.L.D.! Plus, the Sons of the Serpent, Doctor Malus -and the all-new Falcon! And a team-up with Spider-Man and the Inhumans! The headline- making Sam Wilson is a Captain America for today! COLLECTING: CAPTAIN AMERICA (2012) 25, ALL-NEW CAPTAIN AMERICA: FEAR HIM (2015) 1-4, ALL-NEW CAPTAIN AMERICA (2014) 1-6, AMAZING SPIDERMAN SPECIAL (2015) 1, INHUMAN SPECIAL (2015) 1, Marvel ALL-NEW CAPTAIN AMERICA SPECIAL (2015) 1, CAPTAIN AMERICA: SAM WILSON (2015) 1-6 9781302922979 Pub Date: 1/5/21 On Sale Date: 1/5/21 $39.99 USD/$49.99 CAD Paperback 504 Pages Carton Qty: 40 Ages 13 And Up, Grades 8 to 17 Comics & Graphic Novels / Superheroes CGN004080 Marvel January to April 2021 - Page 1 MARVEL Guardians of the Galaxy by Donny Cates Donny Cates, Al Ewing, Tini Howard, Zac Thompson, ..
    [Show full text]
  • Click Above for a Preview, Or Download
    Fully Authorized $4.95 By The In The U.S. Kirby Estate CELEBRATING THE LIFE & CAREER OF THE KING! Issue #9, Feb. 1996 t t o n n i S e o J & y b r i K k c a J © k r o w t r A , p u o r G t n e m n i a t r e t n E l e v r a M © s r e t c a r a h C Special Fantastic Four Theme Issue! This issue inspired by the Unless otherwise noted, mind-numbing talents of all prominent Jack Stan characters in this issue d (king) an (The Man) are TM and © Marvel Kirby Lee Entertainment Group. All artwork is Cover INks By: Color by: © Jack Kirby unless Joe Tom otherwise noted. Sinnott Ziuko Edited with reckless abandon by: John Morrow Designed with little or no forethought by: John & Pamela Morrow Proofread in haste by: Richard howell Contributed to with a vengeance by: Terry Austin Jerry Bails Al Bigley Len Callo Jeff Clem Jon Cooke Scott Dambrot David Hamilton Chris Harper Charles Hatfield David E. Jefferson James Henry Klein Richard Kyle Harold May Mark Miller Bret Mixon Glen Musial Stu Neft Marc Pacella Phillippe Queveau Edward J. Saunders, Jr. John Shingler Darcy Sullivan Greg Theakston Kirk Tilander Barry Windsor-Smith Curtis Wong (Each contributor Receives one free issue for their efforts!) Assisted nonchalantly by: Terry Austin, Len Callo, Al Gordon, D. Hambone, Chris Harper, Richard Howell, Richard Kyle, Mark Miller, Marc Pacella, David Penalosa, Steve SHerman, Joe Sinnott, Greg Theakston, Mike Thibodeaux, Barry Windsor-Smith, & of course, Roz Kirby.
    [Show full text]
  • A Study of Superhero Mythology Ryan Woods This Is a Digitised Version Of
    Gods in Spandex: A Study of Superhero Mythology Ryan Woods This is a digitised version of a dissertation submitted to the University of Bedfordshire. It is available to view only. This item is subject to copyright. GODS in SPANDEX: A STUDY of SUPERHERO MYTHOLOGY Ryan Woods A thesis submitted to the University of Bedfordshire, in fulfilment of the requirements for the degree of Master of Arts by Research University of Bedfordshire Research Institute for Media, Arts and Performance Submitted: February 2020 Table of Contents Author Declaration .......................................................................................................................................ii Abstract .........................................................................................................................................................iii Acknowledgements ..................................................................................................................................... iv Introduction ...................................................................................................................................................v Methodology ................................................................................................................................................. xi Literature Review ....................................................................................................................................... xix Chapter One ................................................................................................................................................
    [Show full text]
  • X-Men, Dragon Age, and Religion: Representations of Religion and the Religious in Comic Books, Video Games, and Their Related Media Lyndsey E
    Georgia Southern University Digital Commons@Georgia Southern University Honors Program Theses 2015 X-Men, Dragon Age, and Religion: Representations of Religion and the Religious in Comic Books, Video Games, and Their Related Media Lyndsey E. Shelton Georgia Southern University Follow this and additional works at: https://digitalcommons.georgiasouthern.edu/honors-theses Part of the American Popular Culture Commons, International and Area Studies Commons, and the Religion Commons Recommended Citation Shelton, Lyndsey E., "X-Men, Dragon Age, and Religion: Representations of Religion and the Religious in Comic Books, Video Games, and Their Related Media" (2015). University Honors Program Theses. 146. https://digitalcommons.georgiasouthern.edu/honors-theses/146 This thesis (open access) is brought to you for free and open access by Digital Commons@Georgia Southern. It has been accepted for inclusion in University Honors Program Theses by an authorized administrator of Digital Commons@Georgia Southern. For more information, please contact [email protected]. X-Men, Dragon Age, and Religion: Representations of Religion and the Religious in Comic Books, Video Games, and Their Related Media An Honors Thesis submitted in partial fulfillment of the requirements for Honors in International Studies. By Lyndsey Erin Shelton Under the mentorship of Dr. Darin H. Van Tassell ABSTRACT It is a widely accepted notion that a child can only be called stupid for so long before they believe it, can only be treated in a particular way for so long before that is the only way that they know. Why is that notion never applied to how we treat, address, and present religion and the religious to children and young adults? In recent years, questions have been continuously brought up about how we portray violence, sexuality, gender, race, and many other issues in popular media directed towards young people, particularly video games.
    [Show full text]
  • The Jewish Comic Book Industry, 1933-1954
    “THE WHOLE FURSHLUGGINER OPERATION”: THE JEWISH COMIC BOOK INDUSTRY, 1933-1954 By Sebastian T. Mercier A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of History – Doctor of Philosophy 2018 ABSTRACT “THE WHOLE FURSHLUGGINER OPERATION”: THE JEWISH COMIC BOOK INDUSTRY, 1933-1954 By Sebastian T. Mercier Over the course of the twentieth century, the comic book industry evolved from an amateur operation into a major institution of American popular culture. Comic books, once considered mere cultural ephemera or quite simply “junk,” became a major commodity business. The comic book industry emerged out of the pulp magazine industry. According to industry circulation data, new comic book releases increased from 22 in 1939 to 1125 titles by the end of 1945. Comic book scholars have yet to adequately explain the roots of this historical phenomenon, particularly its distinctly Jewish composition. Between the years of 1933 and 1954, the comic book industry operated as a successful distinct Jewish industry. The comic book industry emerged from the pulp magazine trade. Economic necessity, more than any other factor, attracted Jewish writers and artists to the nascent industry. Jewish publishers adopted many of the same business practices they inherited from the pulps. As second-generation Jews, these young men shared similar experiences growing up in New York City. Other creative industries actively practiced anti-Semitic hiring procedures. Many Jewish artists came to comic book work with very little professional experience in cartooning and scripting. The comic book industry allowed one to learn on the job. The cultural world comic books emerged out of was crucially important to the industry’s development.
    [Show full text]