doi: 10.17605/OSF.IO/98736

On Superherology

Kyle Hammonds, University of Oklahoma

Abstract Introduction

In 2012, Travis Langley’s book Batman Academic research to understand the and Psychology: A Dark and Stormy Knight social functions of superhero myths has only introduced the term “superherologist,” recently begun to gain traction. The mass indicating Langley’s belief that scholars production of formal superherological who study superheroes belong to a unique stories through television and film seem to field of study. This presentation seeks to have alerted some scholars to the fact that explore historical academic standards for the superhero myths are legitimate subjects of constitution of disciplines, fields, and topics, study. Lack of research on superheroes is and hold them against Langley’s claim that undoubtedly due to the significant American superhero studies warrant their own field. stigma against superhero narratives. Lopes Further, if “superherology” does indeed (2006) argued that comic books, the source qualify as an academic field (versus a mere material from which most contemporary topic, subject, etc.), what are the boundaries superhero stories are extrapolated, “have of the field and how should researchers been stigmatized since their introduction in engage in appropriate scholarship for the the mid-1930s, and this stigma has affected subject matter? The legitimacy of superhero comic books as well as artists, readers, and studies in academia is bound up in whether fans of comics” (p. 388). Given the lack of superherologists fit the historical boundaries superherological research, relative to other of rigorous scholarship. existing topics and fields, present scholars Further, this presentation does not solely would do well to add “academics” to Lopes’ seek theoretical ground for determining list of groups impacted by superhero stigma. whether superhero studies belongs in Although Lopes’ sociological analysis of scholarship; a praxical approach to comic book stigma in 2006 concluded that superhero studies is suggested through a “the efforts of publishers, artists, and fans in discussion of the questions: 1) Who can be a comic book culture to break through the superherologist? and 2) What are the barriers to this medium seem to have finally practical aims and scope of superherology? born some fruit,” the analysis itself bore out Ultimately, the presentation will conclude that much work has yet to be completed in that superhero fans all have the opportunity studying comics because of the lingering to engage in superherological work. effects of pre-existing comic book stigma (p. 411). Accordingly, although superhero scholarship exists and continues to be conducted, most researchers who dare to

The Phoenix Papers, Vol. 4, No. 1, August 2018 116 address superhero myths identify as word that he introduced. Perhaps he academics in larger disciplinary areas, intended the term to function informally or specializing in a different subject, who believed the meaning of the word would be simply happen to have studied a superhero apparent in its construction. In either case, at some point. In other words, superhero Langley’s term and its variations have now research is not usually produced by people entered the public arena and suggest that who claim such research as their primary superhero research may be serious and academic interest. A line of inquiry inspired significant in academic study. The following by this knowledge regarding the production essay will explore the potential meaning and of superhero scholarship includes whether implications of being a superherologist, superhero myths may warrant constitution of examine the academic boundaries of an academic discipline or whether existing superhero studies, and call for future scholarship is already most productive by research in superherology. examining superheroes as objects of study. This question is significant to superhero Men and Masks: Who is Travis Langley? researchers because the academic categorization of their scholarship impacts Understanding Langley’s academic work how superhero stories are studied, including and introduction of the word, the scope of research and acceptable study superherologist, may lend insight into how methodologies. other scholars may navigate superhero In 2012, a superhero researcher – Travis research as well. Langley is presently Langley – at Henderson State University in situated in the department of psychology at Arkansas published a book publically Henderson State University (HSU.edu). His indicating superhero research as his primary status is, notably, “professor of psychology” interest. Further, Langley introduced a term and not “professor of superherology.” Even implying that there is something scientific so, as with other instances of his public (and, therefore, academically legitimate) biographical information, Langley’s entire about studying superheroes. In the “About blurb on his Henderson State webpage the Author” section his book, Batman and emphasizes his “authority on the psychology Psychology: A Dark and Stormy Knight, of superheroes and fictional television Langley (2012) introduced himself as a characters” with the discipline of “superherologist.” Additional reading of psychology being mentioned almost as a Langley’s biography in the book revealed backdrop (HSU.edu). Although there are that he had been using the title of undoubtedly commercial benefits for authors superherologist for some time in both social of best-selling books on superheroes to media and for scholarly work (e.g., personal advertise themselves as a superherologist, website with course syllabi, academic Langley’s focus on superhero stories as a conference schedule, etc.). Despite use of primary research interest still rails against the unique term, superherologist, though, the American comics stigma and potential Langley did not write any explanation of the academic prejudices. Langley obviously

The Phoenix Papers, Vol. 4, No. 1, August 2018 117 acknowledged the potential academic on the Interpretation and Influence of backlash of studying superheroes by the Comic Arts), Dr. Langley and his claiming that “the professor side of my life students investigate how fans see and the nerd side were two separate things themselves and their heroes. Travis until I went to ComicCon in 2007… It was a has also been a child abuse place that celebrates interests that might investigator, courtroom expert, and ostracize people somewhere else. I felt undefeated champion on the Wheel happy, comfortable, and full of joy in this of Fortune game show even though environment.” (HSU.edu) The merging of none of the puzzles they gave him Langley’s two, previously separated, social were about psychology or identities of academic and geek – a superheroes. (2012, About the transformation seemingly akin to the dual Author, emphasis in original) identity tropes of many superhero stories – culminated in the publication of Batman and Even though Langley’s biography splits up Psychology in 2012. With Batman and writing space about psychology and Psychology, Langley took his self-appointed superherology fairly evenly, the breakdown title of superherologist and advertised it to of individual accomplishments clearly the world. Analyzing the phrasing of favors superherological research. Again, Langley’s bio in the book highlights the while acknowledging that Langley’s negotiation of his academic identity at the credibility as a superhero scholar may time: influence the success of his book[s], Langley’s biography in the book is Superherologist Travis Langley representative of the public self that he has teaches on the psychology of crime, presented for years. The focus on mental illness, social behavior, and superherological work in Langley’s Batman media (including comic books), not and Psychology biography is similar to what to mention a course titled Batman, at may be found in his Henderson State site Henderson State University. He biography as well. Both Langley’s book received his bachelor’s degree in biography and his HSU webpage present a psychology from Hendrix College researcher who does not merely tack and his psychology doctorate from superhero studies as a footnote onto their Tulane University. An organizer of curriculum vitae or conveniently forget their the Comics Arts Conference, he superhero scholarship in certain contexts; to regularly speaks as a panelist the contrary, Langley always identifies as discussing the psychology of both a professor of superherology and superheroes at conventions such as psychology. San Diego Comic-Con International, Generally speaking, other scholars WonderCon, and New York Comic would not question what it means for Con. As part of their ongoing Langley to be a professor of psychology. ERIICA Project (Empirical Research The discipline of psychology has a long-

The Phoenix Papers, Vol. 4, No. 1, August 2018 118 standing history with recognizable theories, understanding constitution of academic methods, and objects of study. disciplines. Communication studies is an Superherologists (if anyone besides Langley appropriate exemplar for consideration on may take on the title) do not enjoy the same this topic for several reasons: 1) recognition, popular history, or clarity in communication studies, like superherology, methodology. Even so, Langley has is a relatively young [formal] area of study consistently presented himself as much as a compared to other disciplines, 2) professor of superherology as psychology, communication scholars have, therefore, implying a perception of similarity and, recently recorded their struggle with perhaps, equitability between the two areas questions of academic identity for other of study. Based on Langley’s negotiation of scholars to read and consider, 3) his [public] academic identity, scholars communication studies is now generally interested in superhero research may benefit recognized as a discipline, giving observers from investigating whether superherology of its struggle for “disciplineship” a might be considered a field – a true, complete view of the process, 4) equitable counterpart to disciplines such as communication research emerged from psychology. interdisciplinary scholarship, much like present superhero studies, and 5) much Hero’s Journey: From Subject to Field superherological work emerges from communication scholarship based on a If a type of research constitutes a disciplinary interest in how comics, movies, discipline/field (the terms, consistent with television, etc. function as media. Based on most literature on the topic, will be used an examination of communication studies’ interchangeably to represent the same recent transformation from a subject to a grouping of research criteria) then one could discipline, researchers may be able to expect to see entire departments at observe whether superherology mirrors any universities eventually dedicated to that of the qualities that communication studies scholarship, degrees in that discipline being used in its own academic promotion. bestowed, etc. Does superherology meet all As recently as 2005, Gronbeck wrote an of the criteria of an academic discipline, as article with a very telling title about the Langley’s work seems to imply? Have then-current state of communication studies: academic communities simply not become Is Communication a Humanities Discipline? far enough removed from comics stigma to Struggles for Academic Identity. In regard to acknowledge the disciplinary potential of understanding broad academic identity, superhero studies? These questions can only Gronbeck (2005) explained, be answered with a thorough understanding of criteria that scholars have traditionally With the advent of the modern(ist) accepted for constitution of a discipline. university came the effort to chisel The field of communication studies has out disciplines – congeries of been selected as an exemplar for definitional and methodological

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apparatuses dividing the social and essentially claims, contrary to other human worlds into identifiable conceptions, that a contemporary discipline segments, each with axioms and can exist based on worldviews which theories, logics for inference, and “[preclude] the scientific use of scientific vocabularies for study.” (p.230, methods of research” (p. 258). For superhero emphasis in original) studies, Pearce’s argument means that scholarship does not necessarily need to Gronbeck observed three recognizable traits strictly adhere to a particular set of scientific of an academic discipline, each of which or social scientific methodologies in order to much be unique and “identifiable” as a part be considered a discipline – even though, as of the discipline: axioms and theories, Pearce recognized, the gradual incorporation logics, and vocabularies (p. 230). Later in of such methodologies would not invalidate the article, Gronbeck affirmed that previous work in a content area. Pearce’s communication studies should be considered conclusions about discipline being grounded a discipline because it “can be understood in bodies of discourse lead him to make the theoretically or paradigmatically in a fully argument that “the power of [the panoply of perspectives” and that the field is communication studies] discipline derives clearly defined or “articulated in from its diversity and disorder. Disorder conceptions calling for either social- results from the simultaneous presence of scientific (quantitative/qualitative) or incommensurate paradigms, each with a humane (critical/cultural) perspectives” (p. viable claim to be the legitimate form for the 240). In sum, scholars in communication discipline” (p. 281). These competing have uniquely recognizable descriptions of worldviews, then, created a body of the world, understandings and beliefs discourse in which scholars could find regarding the operations of the world, and recognizable traditions of research while terminology to articulate these special also seeing space for future innovation. descriptions and understandings. Among the Pearce accepted that communication studies, other criteria that Gronbeck suggested which he acknowledged as a discipline, was regarding disciplinary status, the standard of chaotically formed from multiple sources (or recognizable methodologies was also traditions) and yet found unity for the implied. overlapping strands of tradition in the Gronbeck’s view of communication increasing disciplinary monographs, studies has been both complimented and journals, and critiques (pp. 268 and 278). complicated by other scholars. For example, Pearce’s point of view on academic Pearce (1985) argued that communication discipline, then, suggests that a field can be studies – as it is presently known – came known via a unique and recognizable body about based on a logic “created in the of discourse which can be manifested in dialogue of two schools of thought… monographs, journals, and/or critique. To rhetoric and speech” (p. 259). Pearce’s Pearce, critique was especially important observation is significant because he because it indicated that there was enough

The Phoenix Papers, Vol. 4, No. 1, August 2018 120 substantial scholarship in a research area to and rhetorical techniques for making sense warrant appraisal from other scholars (p. of communicative phenomena. 278). Unfortunately, comics scholarship – With the journey of communication particularly superherological research – has scholarship in view, researchers may explore produced few distinctive theories (and whether currently diasporic superherological perhaps, depending on the criteria being students may tie together their chaotic applied, no unique theories at all). Although research strands to form a cohesive superhero scholars frequently utilize theory discipline. in their work, the production of “superhero theory” is limited, if not non-existent. Secret Identity: Is Superherology a Virtually all comics scholarship that seems Discipline? to produce theory is indeed simply developing ideas which are largely Like Gronbeck, present superhero advancements based on pre-existing models researchers’ first concern should be whether or axioms from larger research areas. For superherology is a humanities discipline example, in his seminal work Understanding identifiable through social scientific Comics: The Invisible Art, McCloud (1993) methodologies. Social scientific identity wrote about how comics creators utilize ought to be a primary concern because the knowledge regarding iconicity, color, name “superherology” (literally “the study identification, and more to engage their of superheroes”) uses a suffix (-logy) which readers. However, an examination of these is commonly associated with scientific – and bodies of knowledge will quickly reveal that social scientific – research. Therefore, McCloud was (intentionally) drawing on Gronbeck’s criteria for humanities fields pre-existing theories about art and will be used as an initial framework for perception from fields such as philosophy, determining the status of superherology in aesthetics, psychology, and communication academia. studies. Rather than inventing new theory, Gronbeck introduced three prongs of a McCloud was gathering relevant knowledge standard for evaluating disciplinary status in from other fields together in a single place the humanities: 1) axioms and theories, 2) for digestion and interpretation in the logics, and 3) vocabulary. Every existing context of reading comics. In fact, McCloud discipline features unique theories which wrote in the final chapter of Understanding have grown out of scholarship in the special Comics that comics artists and audiences discourse of the field. To return to the utilize comics as a medium of example of the communication studies communication which “is only effective discipline: scholars in the communication when we understand the forms that field have created scientific models for communication can take” (p. 198). understanding how communication operates, Understanding comics as a form is social scientific theories explaining why undoubtedly work that can already be people use communication in various ways, rightfully placed in the hands of

The Phoenix Papers, Vol. 4, No. 1, August 2018 121 communication scholars – although much – the authoritative work on the historical more work could be done from within the development of America’s superhero communication discipline to develop mythology – does not build theory, advance thorough knowledge of comics. Likewise, unique logics for superhero studies, or studying comics content may belong to invent new vocabulary for understanding literature. Studying the social impacts of superheroes. Lawrence and Jewett’s book is comics on audiences may belong to largely in the vein of American Studies, sociology. Ultimately, although McCloud using cultural studies frameworks to introduced a useful vocabulary for understand the sociological trends and discussing comics in his book, he did not historical developments of superhero- develop original theories or logics toward a oriented concepts. unique body of discourse. Researchers investigating the history of The same could be said for other seminal superherological work will quickly find that works in comics scholarship. For instance, most attempts at theory-building found Groensteen’s (1999/2007) The System of within superhero discourse do not actually Comics, and his other related works, emerge from superherological literature. identified special ways that comics operate Conversely, such scholars will find that by relying on theory from areas such as superherological literature has instead often narratology, rhetoric, and psychology. been used to develop theories for broader Similarly, Cohn’s (2013/2014) The Visual disciplines. Langley (2012), himself, or Language of Comics does indeed reveal White and Arp (2008), for instance, have unique ways that comics operate as a utilized superheroes as exemplars for medium, but does so by relying on theories exploring content from within their own from aesthetics, linguistics, and semiotics. respective disciplines – psychology and The list could go on. Virtually every major philosophy. The use of superheroes to theorist interested in studying comics understand and develop other disciplinary reveals new knowledge about comics as a areas suggests that superherology would be medium by relying on other disciplinary best categorized as a topic of study rather bodies of discourse. Further, none of the than a field. Put another way: scholars who afore-mentioned works have been examine if/how superhero stories express a superhero-specific. In order for message or persuade an audience are superherology – instead of comics studies in studying communication (not superheroes), general – to constitute a discipline, those who study the content/composition of superhero scholars must produce theories superhero stories are studying literature, that are specific to superherology itself. As those who study the ways that dual forms of with comics, though, superhero studies have visual language in superhero comics largely been situated in broader research promote literacy are in the field of reading, areas. and so on. Superherology, at least by For example, Lawrence and Jewett’s Gronbeck’s standards, should then be (2002) The Myth of the American Superhero considered a topic, instead of a discipline,

The Phoenix Papers, Vol. 4, No. 1, August 2018 122 particularly because the researchers who journals with purely superherological focus investigate superhero stories virtually have yet to make any significant academic always do so as an investigation in a larger presence. Further, existing critiques academic area, in keeping with previously regarding superhero stories are not established theories, logics, and evaluations of superherological theory, but vocabularies. consideration of art objects, communication Pearce (1985) also offered criteria for media or phenomena, linguistics in understanding academic discipline, which superhero myths, etc. Ultimately, during the differed in some ways from the standards investigation conducted in the completion of discussed by Gronbeck. Pearce’s standards this essay, no significant evidence was warrant exploration because they indicate found to support that superherology may that threads from across previously constitute an academic discipline. Instead, established disciplines might be extracted superherology would be best considered a and interwoven to constitute a new topic – a research area linked by subject, discipline. Pearce’s criteria, at first glance, content, and aims. Researchers can be sure seem to be more promising for the future of of this conclusion for several main reasons: superherological research than Gronbeck’s 1) there are no agreed upon theories or standards. Pearce’s interdisciplinary methods for superherological research, 2) approach to academic categorization may be superherology is always studied under the better suited to understanding a diverse area umbrella of larger disciplinary banners, and of study, such as superherology, than the 3) there has been no significant attempt for ambitiously rigid markers discussed by superherological scholars to unify into a Gronbeck. Although Pearce’s work was single academic group. published earlier than Gronbeck’s, the criteria from each author has been presented Saving the Day: What Do out of chronological order in this essay in Superherologists Do...? order to prioritize the most concrete and recent standards for understanding academic Superhero scholars should not identity in the flow of the discussion. necessarily be discouraged that Researchers are unlikely to find support superherology does not constitute a for superherology as a discipline using discipline; there is much, legitimate Pearce’s standards either, though. Again, academic work in superherology to be according to Pearce, academic disciplines completed from a topical standpoint. Even might be known via recorded arguments so, if superherology is not an academic regarding competing schools of thought in a discipline, then how – if at all – does it fit particular area that result in ongoing into university research and why have so discourse evidenced in the production of many people recently attempted to study the monographs, journals, and critiques. subject? In a 1972 issue of Diacritics, Eco Although many academic journals exist famously wrote that comic book heroes were which feature articles about superheroes, new form of American literary hero –

The Phoenix Papers, Vol. 4, No. 1, August 2018 123 contrasted with traditional figures and with the release of Batman Begins (Franco, novelistic figures – because superheroes Roven, & Thomas, 2005) shortly after the “must be an archetype, the totality of certain second printing of Brooker’s book – perhaps collective aspirations, and therefore, he must lending credence to Brooker’s argument. necessarily become immobilized in an The abiding nature of superhero figures in emblematic and fixed nature which renders popular culture indicate several major him easily recognizable...” while yet being research opportunities which extend from “subjected to a development which is the existence of superherological myths. A typical… of novelistic characters” because few such opportunities will be mentioned in of the desire for mass production and this essay; although, the list presented here consumption of superherological stories (p. should not be considered exhaustive. 15). The role of myth in the development of Superheroes are often the subject of culture has been well established as a fertile history and/or cultural studies. As previously and useful area of study. Eco rightly mentioned, Lawrence and Jewett’s (2002) observed that superhero stories represented The Myth of the American Superhero trace an adaptation in the American monomyth – superherological stories, much in the vein of the popular development of the Western Eco’s work, as reflective of developing hero. To advance Eco’s point, comic book American values over time. Similarly – heroes, as Eco referred to them, did not although not a strictly academic work – remain confined to the page: they have Supergods, by comics scripter Grant evolved and been materialized as toys, film Morrison (2012), probed historical and television characters, gaming avatars, promptings for the emergence of famous and much more. Superheroes are widely superhero figures. Morrison’s thesis was that known and superherologic stories are “we live in the stories we tell ourselves” and thoroughly ingrained in Western popular that “superhero stories speak loudly and culture. These stories are, in fact, so boldly to our greatest fears, deepest ingrained that many of them may well be longings, and highest aspirations” (p. xvii). immortal now. For instance, Brooker In other words: Morrison examined how (2000/2005) argued that despite fluctuating superhero narratives were inspired by popularity of comics or movies featuring the various events and ideas from American Batman character, Batman’s story history and, therefore, are reflections of that consistently remains in popular memory and which created them. Brooker (2000/2005) always seems to eventually spawn again in also took a historical/cultural approach in another medium. To Brooker, even though Batman Unmasked: Analyzing a Cultural “Batman could ‘die’ in the comic book, or Icon, and his subsequent Batman works, by fold as a comic book – just as he seems now employing mixed qualitative and rhetorical to have failed as a movie franchise… by methodologies in order to understand how now, I think, his legend could not be killed” the legend of Batman both shaped, and has (p. 311). Interestingly, a new and extremely been shaped by, American history. Batman, successful Batman movie franchise emerged as many other popular heroes, then, is

The Phoenix Papers, Vol. 4, No. 1, August 2018 124 representative of particular values, logics, Psychology will immediately yield the etc. emerging from the historical moments conclusion that the text is pedagogical in that enabled his stories in popular culture. purpose. In the book, Langley explained The historical elements and Western values theories of psychology with examples from mined from superhero myth are plentiful as Batman literature and then presented case well. Research in this area has spanned studies from Batman stories as problem- across multiple specialized areas of history posing scenarios. The case studies are and culture, from historical/narrative threads especially telling of Langley’s pedagogical between superheroes and medieval culture motives because they invite readers to (e.g., Tondro, 2011) to religious studies and examine scenarios utilizing the information the prominence of Christian tropes and about psychology that they had learned from archetypes in superherological narrative previous readings in the book. Langley is far (e.g., Asay, 2012). The list of excellent from the only author to utilize superheroes books and articles excavating meaning from as case studies or problem-posing learning elements of history and culture embedded in scenarios, though. The Blackwell superhero stories could go on and on; but the Philosophy and Pop Culture series has afore-mentioned works surely suffice to published an edited volume on Batman and introduce an interesting and productive line Philosophy (White and Arp, 2008). The of research for superhero scholars. book is essentially a collection of essays that Although there are many other potential use Batman examples in order to introduce academic strands for superhero research, concepts from the philosophy discipline. such as literary (e.g., Reynolds, 1992; Many other superheroes have also been Rosenberg and Coogan, 2013) or included in Philosophy and Pop Culture artistic/aesthetic approaches (see any series. Additionally, a number of number of existing academic journals educational texts which are marketed as focused solely on comics art, including comics resources have a distinct focus on articles on superhero imagery), the most the superhero myths in comics. For instance, frequently utilized line of research for Dong’s (2012) edited volume, Teaching superheroes is clearly pedagogy. Langley’s Comics and Graphic Narratives: Essays on own use of the term superherologist seemed Theory, Strategy and Practice, included emerge from his work on a psychology class several essays which are superhero-specific at Henderson State simply titled “Batman” and drew on theories and methods from a (2012, About the Author). Based on the variety of fields such as American, ethnic, biographical information provided in the women’s, cultural, and genre studies in book, Langley was teaching his Batman addition to rhetoric. Rourke’s (2010) The class before the publication of Batman and Comic Book Curriculum: Using Comics to Psychology. Langley now incorporates Enhance Learning and Life showcases a Batman and Psychology into his Batman superhero on the front cover and exclusively course (travislangley.info). Any utilizes case studies from superhero comics. investigation into the content of Batman and In short, due to the intrinsic rhetorical

The Phoenix Papers, Vol. 4, No. 1, August 2018 125 qualities of narrative (Fisher, 1987/1989, p. instance, Hammonds and Anderson-Lain 158 – 179), superhero stories are necessarily (2016) have proposed a pedagogy of pedagogical because, like other forms of communion which would rely on popular literature, superhero narratives reveal values, culture narratives – such as superhero myths follow logics, and make argument. Many – as a catalyst for community-building. scholars are aptly learning to utilize Much has yet to be discovered about the superherological narration in the classroom social learning potential for superherological and other pedagogical and andragogical narratives, making future research in this social settings. area vital to the growth of contemporary From a pedagogical perspective, instructional scholarship. researchers should be especially interested in whether superherological scholarship Origins: How to Be a Superherologist might afford any advantages to teachers. As with all instructional endeavors, the answer Research into superherology as a topic depends on the aims, styles, and interest of has only just begun. Although numerous the teacher. However, several noteworthy scholars (of which only a few have been pedagogues have articulated benefits from mentioned in this essay) have published superherology in their teaching experiences. work indicating the value of studying As a sampling, in articles published for superheroes, additional study will be PsychologyToday, Langley (2018a; 2018b) necessary to thoroughly understand how asked several scholars who have contributed superhero stories operate and what they can to edited volumes on popular culture and teach. Perhaps the most important psychology (almost all of which had a conclusion from the study presented in this superherological focus) to express why they essay is that there is a great need for future favored teaching with fictional characters. research in superherology. Answers from the super-scholars varied, but Although superherology is not a included responses about pedagogical discipline in which students may receive a benefits such as accessing the moral degree, scholars might benefit from dimensions of myth, the prominence of story embracing the interdisciplinary elements of as a reflection of cultural values, empathy superherology as a topic. There are through narrative perspective, connections constraints which accompany the title of to the potential interests and/or experiences “academic discipline,” which, when loosed, of students, observable real-world impacts may offer scholars desirable freedom in from fictional characters, approachability exploring the nuances of a subject. In the and accessibility of examples, and the case of superherology, researchers have reflective potential that comes by identifying already harnessed multiple methodologies with characters. Some scholars are also and paradigms in their studies toward the beginning to investigate how to maximize benefit of having constructed a multifaceted the pedagogical potential of fictional gem of scholarship – a gem to be thoroughly characters toward social learning well. For appreciated and understood precisely

The Phoenix Papers, Vol. 4, No. 1, August 2018 126 because of its many faces. In other words, such as movies, television, and comics – no matter what discipline a researcher may and, therefore, seem to be especially identify with, they have the ability to apply valuable pedagogical tools outside of the their disciplinary knowledge toward the classroom. As previously noted, these subject of superherology. All such research narratives are comprised of coded history, adds exquisite faces to superhero research values, and logics which can be excavated, discourse. Being an academic understood, and utilized by virtually any superherologist, then, does not mean giving discerning audience. Superherology must up an academic identity (e.g., discipline) and not be approached solely from an academic trading it for another; but, rather, to gain an perspective, but also from a broader identity in the nuancing of one’s research educational point of view. practices. In sum: in order for superherological Additionally, superherology is beneficial work to thrive, academics must certainly as a topic because – unlike disciplines, in turn their attention toward researching which reasoning and writing are rigorously superhero mythos; however, superherology governed – topics often seep out of the can only flourish if others also take up the boundaries of academia. Superhero story mantle of critical thinking. The business consumers of all backgrounds play a key leaders who develop organizational role in understanding, harnessing, and community through superhero comics (e.g., applying the power of superhero myths. For Gerde and Foster, 2007), movie-goers who example, Botzakis’ (2011) research from the use superhero stories to reflect on ethics field of reading indicated that superhero with friends, and children who build stories often act as theory-building grounds relationships through common interests in for their audiences, meaning that comics superheroes are all doing the work of a consumers use superherologic narrative as a superherologist. There are many other ways context in which to explore their own to take up this mantle as well. Each reader of conceptions of morality, ethics, social this essay should take it upon themselves to activity, etc. The stories also inspire critical be a superherologist by promoting common conversation between members of reading good through superhero stories in whatever communities (Hammonds and Anderson- way they can. Lain, 2016). In other words, superhero narratives can inspire their readers – Denouement regardless of whether the audience has any academic affiliation – to think critically, at Dr. Langley was unlikely to have meant the very least, about their morals, “superherology” as a term of discipline relationships, and social environment. The when he first coined the word; but he suggestion here is that anyone can do certainly, whether somberly or playfully, superherological work if they put their mind gave academia a term for superhero to studying superhero stories. Superheroes scholarship that rings with legitimacy. are often manifested in popular formats – Perhaps, in this way, he has offered scholars

The Phoenix Papers, Vol. 4, No. 1, August 2018 127 a great gift by attempting to contribute to the philosophy of reason, value, and action. de-stigmatization of a very productive and Columbia, SC: University of South evocative line of research. For those who Carolina Press. take up such research, many avenues are Franco, L., Roven, C., and Thomas, E. available. Superherological scholars may (Producers) & Nolan, C. (Director). study the medium/form or myth/content (or (2005). Batman begins [Motion Picture]. both) of superhero narratives. Importantly, United States: Warner Bros. in the completion of their work, Gerde, V. W., & Foster, R. S. (2007). X- superherologists should embrace the Men ethics: Using comic books to teach interdisciplinarity of superhero studies being business ethics. Journal of Business a topic instead of a discipline – allowing for Ethics, 77, 245-258. experimental methodology, multifaceted Gronbeck, B. (2005). Is communication a approaches, and communal connections with humanities discipline? Arts and other superherological scholars. Armed with Humanities in Higher Education, 4(3), greater knowledge of superherology, fans 229-246. and scholars alike should take to exploring Groensteen, T. (2013). Comics and what may be learned from their favorite narration. Jackson: University Press of superhero stories. Mississippi. Hammonds, K. A., and Anderson-Lain, K. References (2016). A pedagogy of communion: Theorizing popular culture pedagogy. Asay, P. (2012). God on the streets of The Popular Culture Studies Journal, 4, Gotham: What the big screen batman 106-132. can teach us about god and ourselves. HSU. (n.d.).Travis Langley. Retrieved from: Carol Stream, IL: Tyndale House. http://www.hsu.edu/directory/people/pro Botzakis, S. (2011). “To be a part of the fessors/travislangley.html. dialogue”: American adults reading Langley, T. (2018a, March). Why popular comic books. Journal of Graphic Novels culture psychology? The power of story. & Comics, 2(2), 113-123. Retrieved from: Brooker, W. (2000/2005). Batman https://www.psychologytoday.com/us/bl unmasked: Analysing a cultural icon. og/beyond-heroes- London: Continuum. andvillains/201803/why-popular-culture- Eco, U. (1972). The myth of superman (N. psychology-the-power-story. Chilton, Trans.). Diacritics, 14-22. Langley, T. (2018b, February). Why popular Cohn, N. (2013/2014). The visual language culture psychology? What’s the point? of comics: Introduction to the structure Retrieved from: and cognition of sequential images. https://www.psychologytoday.com/us/bl London: Bloomsbury Academic. og/beyond-heroes-and- Fisher, W. R. (1987). Human villains/201802/why-popular-culture- communication as narration: Toward a psychology-whats-the-point.

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Langley, T. (2012). Batman and psychology: Rosenberg, R. S., & Coogan, P. A dark and stormy knight. Hoboken, NJ: (2013). What is a superhero? Oxford: John Wiley & Sons. Oxford University Press. Langley, T. (2012). About the author. In Tondro, J. (2011). Superheroes of the Round Langley, T. (2012). Which batman? In Table: Comics connections to Medieval Batman and psychology: A dark and and Renaissance literature. Jefferson, stormy knight. Hoboken, NJ: John Wiley NC: McFarland. & Sons. Travislangley.info. (n.d.) Batman syllabus. Lawrence, J. S., & Jewett, R. (2002). The Retrieved from: myth of the American superhero. Grand http://www.travislangley.info/?page_id= Rapids, MI: W. B. Eerdmans. 378. McCloud, S. (1994). Understanding comics: White, M. D., and Arp, R. (2008). Batman The invisible art. New York: Harper and philosophy: The dark knight of the Perennial. soul. John Wiley & Sons. Lopes, P. (2006). Culture and stigma: Popular culture and the case of comic Author Note books. Sociological Forum, 21(3), 387- 414. Kyle A. Hammonds (MS, University of Pearce, W. B. (1985). Scientific research North Texas; BS, Texas A&M methods in communication studies and University – Commerce) is a doctoral their implications for theory and student at the University of Oklahoma. research. In Speech communication in Please send correspondence to: Kyle A. the twentieth century. (Benson, T. Ed.) Hammonds, Department of Carbondale and Edwardsville: Southern Communication, University of Illinois University Press, 255-281. Oklahoma, Norman, OK, USA. Tel. Reynolds, R. (1992). Super heroes: A (405) 325-3111. Email: modern mythology. Jackson, MS: [email protected] University Press of Mississipppi.

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