US History

The Great Depression and World War II (1929-1945)

Arts

This collection uses primary sources to explore the birth of the superhero comic book.

The cover of the January 1939 issue of *Action Comics* featuring Superman.

This is an *Action Comics* featuring Superman. Superman’s June 1938 appearance in the first *Action Comics* gave birth to the superhero genre. Superman used his extraordinary powers to fight for “truth, justice, and the American way.” The character’s popularity led to the creation of other costumed crime fighters such as Batman and Captain Marvel. This edition was included as part of a World’s Fair display in 1939.

The first issue of *Batman*, published in the spring of 1940, created by Bob Kane.

This is the first comic book to feature Batman and Robin, “the boy wonder.” A much darker character than Superman, Batman becomes a hero because of the deaths of his parents, Thomas and Martha Wayne. Although he does not possess superhuman physical powers, he is able to fight crime through his detective work and through the gadgets funded by his alter ego, Bruce Wayne. 

The 1941 issue of *America’s Greatest Comics* featuring Captain Marvel.

*America’s Greatest Comics*, issue number one, was published by Fawcett Publications in the fall of 1941 and sold for 15 cents. The cover features the superhero characters Spy Smasher, Bulletman, Captain Marvel, Minute-Man, and Mr. Scarlet. This issue features the stories of Captain Marvel defeating the Ghost of the Deep, Bulletman and Bulletgirl taking down the thieving Invisible Man, the Minute-Man destroying the sinister Mr. Skeleton, Spy Smasher routing America Smasher, and Mr. Scarlet battling the Death Battalion.

Excerpts from a radio interview with Bob Harvey, an historian of comic books and author.

In this radio broadcast, Bob Harvey, author of *The Art of the Comic Book: An Aesthetic History*, discusses the history of the comic book and the rise of superheroes. Harvey discusses how the genre was written for adults in an era of uncertainty during the Great Depression and World War II.


A photograph of a boy reading a *Captain America* comic book in 1942.

This image features a boy reading the March 1942 issue of *Captain America* at a magazine stand. The magazine issues on the rack are dated February and March 1942.

A 1943 cover of *Batman* featuring Batman, Robin, Adolf Hitler, Benito Mussolini, and Hideki Tōjō.

Published by DC Comics in August and September 1943, this issue of *Batman* sold for ten cents. The cover art depicts Batman and Robin running from an exploding firecracker that knocks down cartoon caricatures of the Axis leaders, Hitler, Mussolini, and Tōjō. The cover bears the caption “Insure the 4th of July! Buy war bonds and stamps!” Many comics of the period encouraged patriotism and participation in the war effort.

An excerpt from an episode of *Adventures of Superman* (1954) entitled “Stamp Day for Superman.”

This short film, starring George Reeves as Superman and Noel Neill as Lois Lane, was released to schools all over America to encourage students and their families to buy savings bonds.

An excerpt from a “preliminary study” that discusses efforts to restrict comic books because they lead to delinquency in young people.

In this excerpt from “Comic Books—Municipal Control of Sale and Distribution—A Preliminary Study,” published in 1948, Charles S. Rhyne discusses how some communities believed that children who read comic books were likely to become juvenile delinquents. Many communities began to restrict the sale of comic books to minors because of violence, sexual content, and other factors. In this excerpt, Charles Rhyne advocates for this “literary menace” to be halted before it does even more damage. 

The cover of a *Negro Heroes* comic book from 1948 featuring Jackie Robinson.

This 1948 comic book focuses on black historical figures. The “golden age” of superhero comics featured no African American superheroes in mainstream comic publications, though *All-Negro Comics*, created by Orrin C. Evans, was published in 1947 and featured Lion Man. The first African American superhero in mainstream comic books was Black Panther (1966).

The cover of *Jungle Comics* No. 57 (1940).

*Jungle Comics* No. 57 was published by Fiction House in September 1944 and sold for ten cents. The cover art by Joe Doolin features Kaänga and his wife, Ann Mason, leaping away from arrow fire. The black figure in the background reveals stereotypes about race. The anthology comic series *Jungle Comics* featured stories of characters like Kaänga Lord of the Jungle, Taj of the Elephants, Simba King of the Beasts, Wambi the Jungle Boy, and Camilla Queen of the Jungle Empire.

The cover of *All Star Comics* No. 19 (1943), featuring several characters gathered around Wonder Woman as she plays the piano.

“Crimes Set to Music,” an *All Star Comics* issue, was published by DC Comics in the winter of 1943. The cover features the superhero Wonder Woman playing the piano while other members of the Justice Society of America (Johnny Thunder, Hourman, Dr. Mid-Nite, The Spectre, The Atom, Dr. Fate, Starman, and a silhouette of Hawkman) gather around. Introduced in 1940, the Justice Society of America was the first team of superheroes featured in comic books. After their initial popularity faded, several group members were reinvented and brought together again as the Justice League of America. Some Justice Society of America members, such as the Flash, the Green Lantern, and Wonder Woman, had their own titles.

Questions

1. Look at the [January 1939 issue of *Action Comics* featuring Superman](https://dp.la/primary-source-sets/truth-justice-and-the-birth-of-the-superhero-comic-book/sources/1513). This was the character that set the superhero comic book into motion. Why do you think America was ready for this new genre? What historical context can you give this character and his enduring legacy? 
2. In 1939 a new superhero burst onto the scene: Batman. Examine the [first issue of *Batman*](https://dp.la/primary-source-sets/truth-justice-and-the-birth-of-the-superhero-comic-book/sources/1514). Superman aimed to serve “truth, justice, and the American way,” but Batman was a darker character, seeking to rid city streets of gangsters and others who took advantage of the weak. What other major differences do you see between these characters? 
3. During the 1940s, Captain Marvel was even more popular than Superman. Look at the [comic book featuring Captain Marvel](https://dp.la/primary-source-sets/truth-justice-and-the-birth-of-the-superhero-comic-book/sources/1515) and listen to the [radio interview](https://dp.la/primary-source-sets/truth-justice-and-the-birth-of-the-superhero-comic-book/sources/1516). What set Captain Marvel and his genre apart from others that preceded it? What drew people to these characters? Historically speaking, what else was going on in the world that allowed for this genre to take flight?
4. Consider the [photograph of a boy reading *Captain America*](https://dp.la/primary-source-sets/truth-justice-and-the-birth-of-the-superhero-comic-book/sources/1517), the [1943 cover of *Batman*](https://dp.la/primary-source-sets/truth-justice-and-the-birth-of-the-superhero-comic-book/sources/1518), and the “[Stamp Day for Superman](https://dp.la/primary-source-sets/truth-justice-and-the-birth-of-the-superhero-comic-book/sources/1519)” episode. How did comics hope to influence young readers? What strategies did they use to influence young readers? In what ways did they contribute to the war effort? 
5. In his [report](https://dp.la/primary-source-sets/truth-justice-and-the-birth-of-the-superhero-comic-book/sources/1520), what reasons does Charles S. Rhyne give to support his claims against comic books? Analyze Rhyne's position, and compare his position to contemporary arguments regarding violence and sexuality in video games, movies, and/or music lyrics.
6. Why do you think that it was not until the 1960s that mainstream comics publishing included an African American superhero? Examine the [cover of *Negro Heroes*](https://dp.la/primary-source-sets/truth-justice-and-the-birth-of-the-superhero-comic-book/sources/1521). What is the aim of this comic book? 
7. Compare the portrayals of superheroes in this set to contemporary portrayals of superheroes, especially with regard to race and ethnicity, gender, and sexual orientation.
8. Examine the [cover of *All Star Comics* featuring Wonder Woman](https://dp.la/primary-source-sets/truth-justice-and-the-birth-of-the-superhero-comic-book/sources/1523) and the [cover of *Jungle Comics*](https://dp.la/primary-source-sets/truth-justice-and-the-birth-of-the-superhero-comic-book/sources/1522). In what ways were female characters in “golden age” superhero comics a reflection of the world in which they lived? In what ways did they reject social norms of this era? When analyzing the [cover of *Jungle Comics*](https://dp.la/primary-source-sets/truth-justice-and-the-birth-of-the-superhero-comic-book/sources/1522), for example, consider the meaning of the female figure’s costume (does it serve to objectify her or show her rejection of convention?), her position (is she powerful or shielded?), and the setting.  

Activity

In 2017, Wonder Woman was briefly part of a United Nations social-media campaign. Anne Marie Goetz, former Chief Advisor of Peace and Security at UN Women, tweeted her disgust that “the UN substitutes [a] sexualized fake for [a] real woman leader.” Ask students to research this incident and the history of controversy about whether Wonder Woman is a feminist or anti-feminist figure. Students should present their findings to the class as a debate or in a series of oral reports.

Teaching Guide: Exploring the Birth of the Superhero Comic Book

Resources

1. [The Golden Age of Comic Books](http://www.pbs.org/opb/historydetectives/feature/the-golden-age-of-comics/), PBS. 
2. “[Superheroes rise in tough times](http://edition.cnn.com/2009/SHOWBIZ/books/03/18/superhero.history/index.html),” CNN. 
3. [Comic Strips Lead to a New Form](http://www.psu.edu/dept/inart10_110/inart10/cmbk2fungold.html), Pennsylvania State University. 

Overview

Sometimes referred to as the “golden age of comic books,” the years from the late 1930s through the early 1950s marked a period of creativity and innovation in the medium. Superman debuted in 1938, followed by Batman (1939), Wonder Woman (1941), and several others; these superheroes brought hope to millions suffering privation and loss during the Great Depression and the Second World War. Through characters with dual identities, one ordinary and one extraordinary, comic books showed how a super-powered citizen could save an entire city or world from disaster. 

The history and political ideologies of their times affected the stories and characters of comic books, in which superheroes fought for ideals like “truth, justice, and the American way” (Superman’s catchphrase). Did these comics function as propaganda to keep Americans content during uncertainty, and did they encourage national unity during the Second World War and Cold War? Through inclusions and omissions, did golden-age comics replicate the racism and sexism of US culture or question stereotypes and prejudice? What do Superman, Batman, Captain America, and other comic-book superheroes reveal about the society of the United States during this “golden age” period? 

English

Truth, Justice, and the Birth of the Superhero Comic Book

superhero-comic-book_11_883dc41b7157c2376d2dce35dfbc66fd.jpg

Courtesy of National Museum of American History, Kenneth E. Behring Center via Smithsonian Institution.

D. C. Comics, Inc., “All-Star Comics No. 19,” Digital Public Library of America, https://dp.la/item/883dc41b7157c2376d2dce35dfbc66fd.


The cover of All Star Comics No. 19 (1943), featuring several characters gathered around Wonder Woman as she plays the piano.

Cite this item

Tips for Students

Item 11 of 11 in the Primary Source Set Truth, Justice, and the Birth of the Superhero Comic Book