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For the 2007 parody film, see Superhero! A superhero is a fictional character who is noted for feats of courage and nobility and who usually has a colorful name and costume and abilities beyond those of normal human beings. A female superhero is sometimes called a superheroine.

Since the 1938 debut of Superman, the character who inspired the term and did much to define it, the stories of superheroes—ranging from episodic adventures to decades-long sagas—have become an entire genre of fiction that has dominated American comic books and crossed over into several other media.

Common traits

Although superheroes widely vary (see Divergent character examples), a number of characteristics have become associated with the typical superhero:
  • Extraordinary powers and abilities, relevant skills, and/or advanced equipment. Although superhero powers vary widely, superhuman strength, the ability to fly and enhancements of the five senses are all common. Some superheroes, such as Batman and Green Hornet, possess no superpowers but have mastered skills such as martial arts and forensic sciences. Others have special equipment, such as Iron Man’s powered armor suits and Green Lantern’s power ring.
  • A strong moral code, including a willingness to risk one’s own safety in the service of good without expectation of reward.
  • A motivation, such as a sense of responsibility (e.g. Spider-Man), a formal calling (e.g., Wonder Woman), a personal vendetta against criminals (e.g., The Punisher), or a strong belief in justice and humanitarian service (e.g. Superman)
  • A secret identity that protects the superhero’s friends and family from becoming targets of his or her enemies. Most superheroes use a descriptive or metaphoric code name for their public deeds.
  • A flamboyant and distinctive costume, often used to conceal the secret identity (see Common costume features).
  • An underlying motif or theme that affects the hero’s name, costume, personal effects, and other aspects of his or her character (e.g., Batman resembles a large bat, calls his specialized automobile, which also looks bat-like, the "Batmobile" and uses several devices given a "bat" prefix).
  • A trademark weapon, such as Wonder Woman’s "Lasso of Truth" and Captain America’s shield.
  • A supporting cast of recurring characters, including the hero's friends, co-workers and/or love interests, who may or may not know of the superhero's secret identity. Often the hero's personal relationships are complicated by this dual life, a common theme in Spider-Man stories in particular.
  • A number of enemies that he/she fights repeatedly, including an archenemy who is more troubling than the others. Often a nemesis is a superhero’s opposite or foil (e.g., Sabretooth embraces his savage instincts while Wolverine tries to control his).
  • Independent wealth (e.g., Batman or the X-Men's benefactor Professor X) or an occupation that allows for minimal supervision (e.g., Superman's civilian job as a reporter).
  • A headquarters or base of operations, usually kept hidden from the general public (e.g., Superman's Fortress of Solitude, Batman's Batcave).
  • An "origin story" that explains the circumstances by which the character acquired his or her abilities as well as his or her motivation for becoming a superhero. Many origin stories involve tragic elements and/or freak accidents that result in the development of the hero's abilities. Most superheroes work usually independently. However, there are also many superhero teams. Some, such as the Fantastic Four and X-Men, have common origins and usually operate as a group. Others, such as DC Comics’s Justice League and Marvel’s Avengers, are "all-star" groups consisting of heroes of separate origins who also operate individually. The shared setting or “universes” of Marvel, DC and other publishers allow for individual superheroes to form a group and for regular superhero “team-ups.”

    Some superheroes, especially those introduced in the 1940s, work with a young sidekick (e.g., Batman and Robin, Captain America and Bucky). This has become less common since more sophisticated writing and older audiences have made such obvious child endangerment seem implausible and lessened the need for characters who specifically appeal to child readers. Sidekicks are seen as a separate classification of superheroes.

    Superheroes most often appear in comic books, and superhero stories are the dominant genre of American comic books, to the point that the terms "superhero" and "comic book character" are often used synonymously in North America. Superheroes have also been featured in radio serials, prose novels, TV series, movies, and other media. Most of the superheroes who appear in other media are adapted from comics, but there are exceptions.

    Marvel Characters, Inc. and DC Comics share ownership of the United States trademark for the phrases "Super Hero" and "Super Heroes" and these two companies own a majority of the world’s most famous and influential superheroes. Of the "Significant Seven" chosen by The Comic Book in America: An Illustrated History (1989), Marvel owns Spider-Man and Captain America and DC owns Superman, Batman, Wonder Woman, Captain Marvel and Plastic Man. Although, like many non-Marvel characters popular during the 1940s, the latter two were acquired by DC from defunct publishers.*. However, there have been significant heroes owned by others, especially since the 1990s when Image Comics and other companies that allowed creators to maintain trademark and editorial control over their characters developed. Spawn, Hellboy and Invisible are some of the most successful creator-owned heroes.

    Although superhero fiction is considered a subgenre of fantasy/science-fiction, it crosses into many other genres. Many superhero franchises resemble crime fiction (Batman, Daredevil), others horror fiction (Spawn, Spectre) and others more standard science fiction (Green Lantern, X-Men). Many of the earliest superheroes, such as The Sandman and The Clock, were rooted in the pulp fiction of their predecessors.

    Because the fantastic nature of the superhero milieu allows almost anything to happen, particular superhero series frequently cross over into a variety of vastly different genres. In the 1980s series The New Teen Titans, for example, the Titans battled a supernatural cult leader in one story, participated in an intergalactic space war in the following, and returned to Earth and became involved in an urban drama involving young runaways in the next. The content of each of these stories is quite different, yet the same principal characters are involved.

    Common costume features

    A superhero’s costume helps make him or her recognizable to the general public, both in and outside of fiction. Costumes are often colorful to enhance the character's visual appeal. Costumes frequently incorporate the superhero's name and theme. For example, Daredevil resembles a red devil, the design of Captain America's costume echoes that of the American flag, and Spider-Man’s costume features a web pattern. The convention of superheroes wearing masks and skin-tight unitards originated with Lee Falk's comic strip creation The Phantom.

    Many features of superhero costumes recur frequently, including the following:

    • Superheroes who maintain a secret identity often wear a mask, ranging from the domino masks of Green Lantern and Ms. Marvel to the full-face masks of Spider-Man and Black Panther. Most common, however, are masks covering the upper face, leaving the mouth and jaw exposed. This allows for both a believable disguise and recognizable facial expressions.
    • A symbol, such as a stylized letter or visual icon, usually on the chest. Perhaps the most recognizable are uppercase "S" of Superman and the bat emblem of Batman.
    • Form-fitting clothing, often referred to as tights or spandex, although the exact material is usually not identified. Such material displays a character’s athletic build and heroic sex appeal and allows a simple design for illustrators to reproduce.
    • While a vast majority of superheroes do not wear capes, the garment is still closely associated with them, likely due to the fact that two of the most widely-recognized, Batman and Superman, wear capes. The comic book series Watchmen and the movie The Incredibles humorously commented on the sometimes-lethal impracticality of capes.
    • While most superhero costumes merely hide the hero’s identity and present a recognizable image, parts of some costumes have functional uses. Batman's utility belt and Spawn’s "necroplasmic armor" have both been of great assistance to the heroes. Iron Man's armor, in particular, protects him and provides technological advantages.
    • When thematically appropriate, some superheroes dress like people from various professions or subcultures. Zatanna, who possesses wizard-like powers, dresses like a magician, and Ghost Rider, who rides a superpowered motorcycle, dresses in the leather garb of a biker.
    • Several heroes of the 1990s, including Cable and many Image Comics characters, rejected the traditional superhero outfit for costumes that appeared more practical and militaristic. Shoulder pads, kevlar-like vests, metal-plated armor, knee and elbow pads, heavy-duty belts, and ammunition pouches were common features.

    Superheroes outside the United States

    Superheroes originated in the U.S. and most internationally popular superheroes are American creations. However, there have been successful superheroes in other countries most of whom share the conventions of the American model. Examples include Cybersix from Argentina, Captain Canuck from Canada and the heroes of AK Comics from Egypt. Japan is the only country that nears the US in output of superheroes. The earlier of these wore scarves either in addition to or as a substitute for capes and many wear helmets instead of masks. Ultraman, Kamen Rider, Super Sentai, Metal Heroes, and Kikaider have become popular in Japanese tokusatsu live-action shows, and Science Ninja Team Gatchaman and Sailor Moon are staples of Japanese anime and manga. However, most Japanese superheroes are shorter-lived. While American entertainment companies update and reinvent superheroes, hoping to keep them popular for decades, Japanese companies retire and introduce superheroes more quickly, usually on an annual basis, in order to shorten merchandise lines. Japanese superhero franchises are also more closely connected to general Japanese science fiction/fantasy, containing more complex technological and mystical ideas than most American superhero stories. They also more often feature more lethal violence on the part of the hero. British superheroes began appearing in the Golden Age shortly after the first American heroes became popular in the UK *. Most original British heroes were confined to anthology comics magazines such as Lion, Valiant, Warrior, and 2000AD. Marvelman, known as Miracleman in North America, is probably the most well known original British superhero (although he was based heavily on Captain Marvel). Popular in the 1960s, British readers grew fond of him and contemporary UK comics writers Alan Moore and Neil Gaiman have revived Marvelman in series that display a jaundiced and cynical slant on heroism, an attitude prevalent in newer British heroes, such as Zenith.

    In France, where comics are known as Bande Dessinée, literally drawn strip, and regarded as a proper art form, Editions Lug began translating and publishing Marvel comic books in in anthology magazines in 1969. Soon Lug started presenting its own heroes alongside Marvel stories. Some closely modeled their U.S. counterparts, while others indulged in weirder attributes, such as the shape-changing alien Wampus. Many were short-lived, while others rivaled their inspirations in longevity and are now the subject of reprints and revivals.

    In India, Raj Comics, founded in 1984, owns a number of superheroes, such as Nagraj, Doga and Super Commando Dhruva, that, while somewhat akin to Western superheroes, carry Hindu ideas of morality and incorporate Indian myths.

    See also: Manga, History of the British comic

    Character subtypes

    In superhero role-playing games, particularly Champions, superheroes are informally organized into categories based on their skills and abilities. Since comic book and role-playing fandom overlap, these labels have carried over into discussions of superheroes outside the context of games:

    These categories often overlap. For instance, Batman is a both a skilled martial artist and gadgeteer and Hellboy has the strength and durability of a brick and the mystic arts abilities of a mage. Very powerful characters, such as Superman, Captain Marvel, Dr. Manhattan and the Silver Surfer can be listed in many categories.

    See also: List of comic book superpowers

    Divergent character examples

    While the typical superhero is described above, a vast array of superhero characters have been created and many break the usual pattern:

    Trademark status

    The terms "Super Hero," "Super Heroes," and by association, "superhero"have been jointly trademarked by DC Comics and Marvel Comics to describe entertainment on television, film, and printed media (U.S. Trademark Serial Nos. [http://tess2.uspto.gov/bin/showfield?f=doc&state=hg34f7.2.87 72243225 and 73222079).

    According to former Mego Toys CEO Marty Abrams, the company owned toy licenses for both Marvel and DC characters in the early 1970s and released dolls of both company’s heroes in a series called “World's Greatest Superheroes,” the packaging of which stated “Superhero is a trademark of Mego.” Both Marvel and DC objected, as they had used the term for decades. Mego agreed to sell its alleged trademark of the phrase to both companies for one dollar apiece.

    Marvel and DC have maintained the trademark since. Others have sometimes used "super-hero," with a hyphen, as a spelling covering all such heroes. In March 2006, DC and Marvel attempted to register "super-hero" as well. Some bloggers have suggested using the term "underwear pervert" to describe the characters of Marvel and DC in protest [http://www.newciv.org/nl/newslog.php/_v17/__show_article/_a000017-000311.htm.

    History of superheroes in comic books

    Antecedents

    The origins of superheroes can be found in several prior forms of fiction. Many share traits with protagonists of later Victorian literature, such as The Scarlet Pimpernel and Sherlock Holmes.

    Penny dreadfuls, dime novels and other popular fiction of the late nineteenth and early twentieth centuries featured mysterious, swashbuckling heroes with distinct costumes, secret identities and altruistic missions. These include Zorro, the Scarecrow of Romney Marsh and Spring Heeled Jack, who first emerged as an urban legend. Likewise, John Carter of Mars and Tarzan were heroes with unusual abilities who fought larger-than-life foes.

    Philip Wylie's 1930 novel Gladiator has recently gained attention as a prototype not only of the "classic" superhero, but also of its deconstruction. *

    Pulp magazine crime fighters, such as Doc Savage, The Shadow and The Spider, and comic strip characters, such as Dick Tracy and The Phantom, were probably the most direct influences.

    By modern standards, characters like Doc Savage and The Phantom—colorfully named, valiant adventurers at or near peak physical abilities—could be considered superheroes in their own right, but the first appearance of Superman is widely considered the point at which the superhero genre truly began.

    Golden Age

    In 1938, writer Jerry Siegel and illustrator Joe Shuster, who had previously worked in pulp science fiction magazines, introduced Superman. The character possessed many of the traits that have come to define the superhero: a secret identity, superhuman powers and a colorful costume including a symbol and cape. His name is also the source of the term "superhero," although early comic book heroes were sometimes also called "mystery men" or "masked heroes".

    DC Comics, which published under the names National and All-American at the time, received an overwhelming response to Superman and, in the months that followed, introduced Batman, Wonder Woman, Green Lantern, The Flash, Hawkman, Aquaman and Green Arrow. The first team of superheroes was DC's Justice Society of America, featuring most of the aforementioned characters. Although DC dominated the superhero market at this time, companies large and small created hundreds of superheroes. The Human Torch and Sub-Mariner from Marvel Comics (then called Timely Comics) and Plastic Man and Phantom Lady from Quality Comics were also hits. Will Eisner's The Spirit, featured in a comic strip, would become a considerable artistic inspiration to later comic book creators. The era's most popular superhero, however, was Fawcett Comics' Captain Marvel, whose exploits regularly outsold those of Superman during the 1940s.

    During World War II, superheroes grew in popularity, surviving paper rationing and the loss of many writers and illustrators to service in the armed forces. The need for simple tales of good triumphing over evil may explain the wartime popularity of superheroes. Publishers responded with stories in which superheroes battled the Axis Powers and the patriotically themed superheroes, most notably Marvel's Captain America.

    After the war, superheroes lost popularity. This led to the rise of other genres, especially horror and crime. The lurid nature of these genres sparked a moral crusade in which comics were blamed for juvenile delinquency. The movement was spearheaded by psychiatrist Fredric Wertham, who famously argued that "deviant" sexual undertones ran rampant in superhero comics. *

    In response, the comic book industry adopted the stringent Comics Code. By the mid-1950s, only Superman, Batman and Wonder Woman retained a sliver of their prior popularity, although effort towards complete inoffensiveness led to stories that many consider silly, especially by modern standards. This ended what historians have called the Golden Age of comic books.

    Silver Age

    In the 1950s, DC Comics, under the editorship of Julius Schwartz, recreated many popular 1940s heroes, launching an era later deemed the Silver Age of comic books. The Flash, Green Lantern, Hawkman and several others were recreated with new origin stories. While past superheroes resembled mythological heroes in their origins and abilities, these heroes were inspired by contemporary science fiction. In 1960, DC banded its most popular heroes together in the Justice League of America, which became a sales phenomenon.

    Empowered by the return of the superhero at DC, Marvel Comics editor/writer Stan Lee and the artists/co-writers Jack Kirby and Steve Ditko launched a new line of superhero comic books, beginning with The Fantastic Four in 1961. These comics continued DC’s use of science fiction concepts (radiation was a common source of superpowers) but placed greater emphasis on personal conflict and character development. This led to many superheroes that differed from predecessors with more dramatic potential. Some examples:

    While the superhero genre underwent a revival, the rise of television as the top medium for light entertainment and the effects of Comics Code Authority obliterated genres such as westerns, romance, horror, war and crime . In the coming decades, non-superhero comics series would occasionally rise to popularity but superheroes and comic books would be forever intertwined in the eyes of the American public.

    Deconstruction of the superhero

    In the 1970s, DC Comics paired Green Arrow with Green Lantern in a ground-breaking socially-conscious series. Writer Dennis O'Neil portrayed Green Arrow as an angry, street-smart populist and Green Lantern as good-natured but short-sighted authority figure. This is the first instance in which superheroes were classified into two distinct groups, the "classic" superhero and the more brazen anti-hero.

    In the 1970s, DC returned Batman to his roots as a dubious vigilante and Marvel introduced several popular anti-heroes, including The Punisher, Wolverine and writer/artist Frank Miller's darker version of Daredevil. These characters were deeply troubled from within. Batman, The Punisher and Daredevil were driven by the crime-related deaths of family members and continual exposure to slum life. The X-Men’s Wolverine, on the other hand, was tormented by his own uncontrollable savagery. The trend was taken to a new extreme in the 1986 mini-series Watchmen by writer Alan Moore and artist Dave Gibbons, which was published by DC but took place outside the "DC Universe", with new characters. The superheroes of Watchmen were emotionally unsatisfied, psychologically withdrawn, sexually confused, and even sociopathic.

    Another story, The Dark Knight Returns (1985-1986) continued Batman’s renovation. This mini-series, written and illustrated by Frank Miller, featured a future Batman returning from retirement. The series portrayed the hero as an obsessed fanatic on a brutal quest to mold society to his will and concluded with a symbolic slugfest against Superman, now an agent/secret weapon of the U.S government.

    Some critics believe that this trend is tied to the cynicism of the 1980s, when the idea of a person selflessly using his extraordinary abilities on a quest for good was no longer considered believable, but a person with a deep psychological impulse to destroy criminals was. Regardless, both Watchmen and Batman: The Dark Knight Returns were acclaimed for their artistic ambitiousness and psychological depth and became watermark series, leading to numerous imitations.

    Struggles of the 1990s

    By the early 1990s, anti-heroes had become the rule rather than the exception, as The Punisher, Wolverine and the grimmer Batman became popular and marketable characters. Anti-heroes such as the X-Men’s Gambit and Bishop, X-Force's Cable and the Spider-Man adversary Venom became some of the most popular new characters of the early 1990s. This was a financial boom time for the industry when a new character could become well-known quickly and, according to many fans, stylistic flair eclipsed character development. In 1992, Marvel illustrators Todd McFarlane, Jim Lee and Rob Liefeld — all of whom helped popularize anti-heroes in the Spider-Man and X-Men franchises — left Marvel to form Image Comics. Image changed the comic book industry as a haven for creator-owned characters and the first significant challenger to Marvel and DC in thirty years. Image superhero teams, such as Lee’s WildC.A.Ts and Gen¹³, and Leifeld’s Youngblood, were instant hits but were criticized as over-muscled, over-sexualized, excessively violent, and lacking in unique personality. McFarlane’s occult hero Spawn fared somewhat better in critical respect and long-term sales.

    To keep ahead of new competitors and continue to the financial boom, Marvel and DC launched headline-grabbing, large-scale storylines that made drastic changes to iconic characters. The "Death of Superman" found the hero killed and resurrected, Batman was physically crippled in the "KnightFall" storyline, and a clone of Spider-Man vied with the original for the title. Company-wide crossovers, such as DC’s "Zero Hour" and Marvel’s "Onslaught," were also financial successes. While these stories drummed up publicity, fans complained that the essential elements of the franchises had been diluted and they ultimately lost interest. Throughout the 1990s, several creators deviated from the trends of violent anti-heroes and sensational, large-scale storylines. Painter Alex Ross, writer Kurt Busiek and Alan Moore himself tried to "reconstruct" the superhero genre. Acclaimed titles such as Busiek's, Ross' and Brent Anderson's Astro City and Moore's Tom Strong combined artistic sophistication and idealism into a super heroic version of retro-futurism. Ross also painted two widely acclaimed mini-series, Marvels (written by Busiek) for Marvel Comics and Kingdom Come for DC, which examined the classic superhero in a more literary context, as well as satirizing anti-heroes. Magog, Superman’s rival in Kingdom Come was partially modeled after Cable.

    By the beginning of the 2000s, most classic superheroes had returned to their roots. However, the comic book industry’s most acclaimed writers could make drastic changes and gain general fan approval, as was the case with Grant Morrison's New X-Men series and Brian Michael Bendis's "Avengers Disassembled" story arc.

    As of 2006, a decline in the comic book industry has cut the surplus of anti-heroes, but a revival of superhero films and a rise in the sale of trade paperbacks have kept the superhero genre healthy.

    Growth in diversity

    Until the 1960s, superheroes largely conformed to the model of lead characters in American popular fiction in the first half of the 20th century. Hence, the typical superhero was a white, middle- to upper- class, heterosexual, professional, 20-to-30-year-old man. A majority of superheroes still fit this description but, in subsequent decades, many characters have broken the mold.

    Female superheroes

    Female superheroes have sometimes been called superheroines, although the term has fallen out of favor. The first significant female superhero was DC Comics' Wonder Woman, co-created by psychologist William Moulton Marston with his wife Elizabeth. Debuting in 1941, she was the only widely popular female superhero for two decades and is arguably still the most famous.

    Starting in the late 1950s, DC began featuring female versions of prominent male superheroes, such as Hawkgirl, Supergirl, Batwoman and later Batgirl, as well as female supporting characters that were successful professionals, such as the Atom’s love interest lawyer Jean Loring and longtime Superman character journalist Lois Lane.

    Marvel Comics teams of the early 1960s usually included at least one female member, including Invisible Girl of the Fantastic Four, and Marvel Girl of the X-Men. However, these characters were often treated as love interests and damsels in distress to their male teammates. They gained more assertiveness in later decades; a change symbolized by Invisible Girl’s change of name to Invisible Woman. Also, X-Men writer Chris Claremont made it a point to feature as many females on the team and as males and give them vital roles. Storm, Shadowcat and Rogue became prominent “X-Women” during his run.

    In the 1970s, comics responded to the rise of feminism with bolder female superheroes, such as DC’s Power Girl and Marvel’s Ms. Marvel, although both showed some stereotypical peachiness until creators grew accustomed to society’s changing attitudes. In subsequent decades, Elektra, Catwoman, Witchblade, and Spider-Girl became stars of popular series.

    Still, the treatment of women in comic book fiction is controversial. Although male superheroes are usually muscular and wear form-fitting clothing, the exaggerated physiques and sometimes scanty costumes of female superheroes has lead to accusations of sexism. The website Women in Refrigerators, named for the grisly demise of one of Green Lantern’s love interests, argues that female characters are often killed, injured or meet with some other misfortune as a plot device in storylines showcasing male heroes. *

    See also: List of superheroines

    Non-Caucasian characters

    In the late 1960s, superheroes of other racial groups began to appear. In 1966, Marvel Comics introduced the Black Panther, the first non-caricatured black superhero. In 1972, Luke Cage, an African-American "hero-for-hire," became the first black superhero to star in his own series while Red Wolf became the first Native American *. In 1974, Shang Chi, a martial artist, became the first Asian hero to star in an American comic book series.

    Comic book companies were in the early stages of cultural expansion and many of these characters played to specific stereotypes; Cage often employed lingo similar to that of blaxploitation films, Native Americans were often associated with wild animals and Asians were often portrayed as martial artists. The Hanna-Barbera-created heroes meant to add ethnic diversity to the DC all-star cartoon series Super Friends are considered especially awkward, if not offensive. ** Subsequent minority heroes, such as the X-Men’s Storm (the first black superheroine) and The Teen Titans’ Cyborg avoided the patronizing nature of the earlier characters as the comics industry became more mature and diverse.

    Storm and Cyborg were both part of superhero teams, which became increasingly diverse in subsequent years. The X-Men, in the particular, were revived in 1975 with a line-up of characters culled from several different nations, including the Kenyan Storm, German Nightcrawler, Russian Colossus and Canadian Wolverine. Diversity in both ethnicity and national origin would be an important part of subsequent X-Men-related groups, as well as series that attempted to mimic the X-Men’s success. In the modern age, minority headliners are still rare but almost all teams feature at least a few minority characters.

    In 1993, Milestone Comics, an African-American-owned imprint of DC, introduced a line of series that included characters of many ethnic minorities, including several black headliners. The imprint lasted four years, during which it introduced Static, a character adapted into the WB Network animated series Static Shock. In addition to the creation of new minority heroes, publishers have filled the roles of once-Caucasian heroes with minorities. The best know example is perhaps John Stewart who debuted in 1971 in the socially conscious series Green Lantern/Green Arrow. Stewart was a black and somewhat belligerent architect who Green Lantern’s alien benefactors chose as Hal Jordan’s standby, an idea that initially discomforted Jordan and was meant to discomfort some readers. In the 1980s, Stewart became the Green Lantern permanently, making him the first black person to take the mantle of a classic superhero. The creators of the 2000s-era Justice League animated series selected Stewart as the show’s Green Lantern, boosting his profile. DC has recently passed some other long-established superhero mantles to ethnic minorities.

    These include the new Firestorm (an African-America), Atom (an Asian) and Blue Beetle (a Latino). Alternatively, an acclaimed 2003 limited series revealed that the "super solider serum" that empowered Captain America was first tested on an African American.

    See also: List of black superheroes

    Religious minorities

    Perhaps to prevent alienating readers of any faith, the religious attitudes of superheroes are rarely discussed. Generally characters’ religious backgrounds are common to his or her regional origin, e.g. the Midwestern Superman is a Methodist, the English Captain Britain is an Anglican and the Kenyan Storm practices a vaguely defined African religion—although, like a majority of superheroes, they are rarely seen practicing.

    A few superheroes, however, proudly show themselves as members of minority faiths in their nations of origin. The X-Men’s Shadowcat was one of the first recognizably Jewish superheroes, followed by the Justice League’s Atom Smasher. Daredevil, Nightcrawler and Hellboy are all practicing Catholics, contrasting the demonic attributes or appearances of each. The first Captain Canuck was a Mormon and Wolverine practices Buddhist meditation.

    See also: Adherents.com has a large database exploring the religious affiliations of comic book characters

    Non-heterosexual characters

    In 1992, Marvel revealed that Northstar, a member of Alpha Flight, was homosexual, after years of implication. This ended a long-standing editorial mandate that there would be no gay characters in Marvel comics. Although some secondary characters in Watchmen were gay, Northstar was the first openly gay superhero to have a permanent presence in a continuing series. Since then, a few other semi-prominent gay superheroes have emerged, such as Gen¹³'s Rainmaker, the New Mutants’ Karma and The Authority's gay couple Apollo and Midnighter.

    Recently, a few characters were revealed gay in two Marvel titles, the Ultimate incarnation of Colossus in Ultimate X-Men and Wiccan and Hulkling of the Young Avengers. Meanwhile, the new Batwoman has been unveiled as a “lipstick lesbian” to some media attention. [http://www.time.com/time/archive/preview/0,10987,1200745,00.html

    See also: List of gay and bisexual people in comic fiction

    Treatment in other media

    Film

    Superhero films began as Saturday movie serials aimed at children during the 1940s. The decline of these serials meant the death of superhero films until the release of 1978‘s Superman which was a tremendous success. Several sequels followed in the 1980s. A popular Batman series lasted from 1989 until 1997. These franchises were initially successful but later sequels in both series fared poorly, stunting the growth of superhero films for a time.

    In the early 2000s, blockbusters such as 2000’s X-Men, 2002’s Spider-Man, and 2005's Batman Begins have led to dozens of superhero films. The improvements in special effects technology and more sophisticated writing that both respects and emulates the spirit of the comic books has drawn in mainstream audiences and caused critics to take superhero films more seriously.

    Live-action television series

    Several popular but, by modern standards, campy live action superhero programs aired from the early 1950s until the late 1970s. These included The Adventures of Superman starring George Reeves, the psychedelic-colored Batman series of the 1960s starring Adam West and Burt Ward and CBS’s Wonder Woman series of the 1970s starring Lynda Carter. The popular Incredible Hulk of the late 1970s and early 1980s, however, had a more somber tone.

    In the 1990s, networks attempted several unconventional uses of the superhero genre in live action shows, including the exceptionally popular Mighty Morphin Power Rangers, adapted from the Japanese Super Sentai. Other shows targeting teenaged and young adult audiences, included Lois and Clark, Buffy the Vampire Slayer, Alias and Smallville, which retooled Superman's origin as a teen drama.

    Animation

    In the1940s, Fleischer/Famous Studios produced a number of groundbreaking Superman cartoons, which became the first examples of superheroes in animation.

    Since the 1960s, superhero cartoons have been a staple of children’s television, particularly in the U.S.. However, by the early 1980s, US broadcasting restrictions on violence in children’s entertainment led to series that were extremely tame, a trend exemplified by the series Super Friends.

    In the 1990s, The Animated Series and X-Men led the way for series that displayed advanced animation, mature writing and respect for the comic books on which they were based. This trend continues with Cartoon Network’s successful adaptation of DC's Justice League.

    The comics superheroes mythos itself received a nostalgic treatment in the acclaimed 2004 Disney/Pixar release The Incredibles, which utilized computer animation.

    Radio

    In the late 1930s and throughout the 1940s, Superman was one of the most popular radio serials in the United States. Along with The Green Hornet and The Shadow, the series helped popularize superheroes during their earliest years. By the early 1950s, the rise of television ended radio serials, including superhero shows.

    Prose

    Adaptations
    Popular superheroes have occasionally been adapted into prose fiction, starting with the 1942 novel Superman by George Lowther. Elliot S! Maggin also wrote two popular Superman novels, Last Son of Krypton and Miracle Monday, in the 1970s.

    Juvenile novels featuring Batman, Spider-Man, the X-Men, and the Justice League have also been published, often marketed in association with popular TV series.

    In the 1990s and 2000s, Marvel and DC released novels based on important stories from their comics, such as The Death of Superman and the year-long Batman: No Man’s Land.

    Original characters
    The 1930 novel Gladiator, by Philip Gordon Wylie featured a man granted super-strength and durability through prenatal chemical experimentation. He tries to use his abilities for good but soon becomes disillusioned, making him an early example of both the superhero and its latter day deconstruction. DC Comics' Superman is commonly thought to be based partially on the novel.

    Robert Mayer's 1977 Superfolks tells of a retired hero who has married and moved to the suburbs being drawn back into action. It was a precursor of efforts to 'deconstruct' superheroes, and was a direct influence on writers Alan Moore and Kurt Busiek; its most recent edition carries an introduction by Grant Morrison.

    The Wild Cards books, edited by George R. R. Martin launched in 1987, were a non-comic book-based science fiction series that dealt with super-powered heroes.

    Science fiction author Michael Bishop parodied superheroes in his 1992 novel Count Geiger's Blues in which a pop culture-hating art critic plunges into a pool of toxic waste and transforms into a costumed superhero and gains an allergy to high art.

    Computer games

    While many popular superheroes have been featured in licensed computer games, up until recently there have been few that have revolved around heroes created specifically for the game. This has changed due to two popular franchises: The Silver Age-inspired Freedom Force (2002) and City of Heroes (2004), a Massively Multiplayer Online Role Playing Game, both of which allow players to create their own superheroes.

    Internet

    In the 80s and 90s, the Internet allowed a worldwide community of fans and amateur writers to bring their own superhero creations to a global audience. The first original major shared superhero universe to develop on the Internet was Superguy, which first appeared on a UMNEWS mailing list in 1989. In 1992, a cascade on the USENET newsgroup rec.arts.comics would give birth to the The Legion of Net.Heroes shared universe. In 1994, LNH writers contributed to the newsgroup rec.arts.comics.creative*, spawned a number of original superhero shared universes. The Internet has also helped with distributing superhero fan fiction to a massive audience.

    The World Wide Web has also given writers and artists the ability to display webcomics and webanimation of their superhero creations. Because of the ability to post original works of superhero prose, comics, or animation cheaply on the Internet it has given traditional superhero works in other media more competition and new challenges ahead in the marketplace. The Internet also has given artists and writers a vast canvas in which to chart new possibilities and opportunities for the superhero genre that other traditional mediums can or will not take advantage of.

    See also

    External links

    Fantasy genres | Stock characters | Superheroes

    Superhelt | Superheld | Superhéroe | Supersankari | Super-héros | גיבור על | szuperhős | Supereroe | スーパーヒーロー | Supereroj | Superheld | Superhelt | Superbohater | Super-herói | Superhero | Superhero | Superhjälte | 超级英雄

 

This article is licensed under the GNU Free Documentation License. It uses material from the "Superhero".

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