This title offers much to academics well grounded in comics theory and history, but is probably of most use to those who are nonspecialists looking for a solid grounding in the area. It will be very useful for undergraduates across a range of disciplines, and shows how comics can illuminate various developments in society (even when superpowers are involved). It is useful in exploring how various approaches and theories can be used in relation to superheroes in illuminating their cultural, historical and sociological potential and significance.
The book is part of a series on Comics Studies, one which will introduce other genres within the medium. It offers a history of the genre, beginning with the earliest pre-Comics Code Superman and ending with the most recent incarnations of Ms Marvel and Black Panther, taking an interdisciplinary and pragmatic approach to the genre. It is very current both in the most recent examples flagged up as worthwhile case studies and also in the secondary sources.
The book begins with questions of definition, working predominantly with that offered by Peter Coogan in 2006, but shows how definitions may change or be limited through a comparison of Batman and Jessica Jones. Here, the former is costumed, with a secret identity and without powers, the latter in plain clothes, without a secret identity, but possessing powers. This very small example indicates from the very start of the book that assuming that superhero comics is a homogeneous genre, and that they are homogeneous characters, is problematic.
Other assumptions about the genre, about superheroes and about comics more generally, are also addressed by Gavaler, including the question of how comics have been divided into historical periods, where the author critiques the concept of Ages of the comic, again emphasizing complexity and debate. This book does not use Ages as a structure/anchor, but uses the various periods of the Comics Code instead.
Appropriately, the historical overview begins with origins, a focus of many superhero titles and especially superhero films, looking at the mythic in relation to the genre, and then moving on to imperialism, the notion of the vigilante, fascism, eugenics and even the influence of the concept of mutually assured destruction. However, it also contextualizes these comics by discussing their social and cultural impact, especially in relation to gender, ethnicity and orientation. In relation to the black superhero, the section is again divided into Code eras, giving overviews of key changes and significant titles. The section on gender has two briefer sections, considering binaries and LGBTQ in overview.
Production practices are also considered, looking at changes over time, how they vary according to publisher, and the tensions that may exist within teams, for instance between inkers and pencillers. Further, a section devoted to critical uses looks predominantly at approaches to visual analysis, from layout norms to narrative structure to styles of abstraction, framing and other issues, finishing with a case study on Elektra. It offers a number of images supporting the arguments which help to clarify the concepts discussed effectively.
Finally, there are several bibliographies and a short glossary. The first is an annotated bibliography that contains a selection of what the author considers key works, again divided into historical periods. Titles range from the first version of Superman through to Coates and Stelfreeze's Black Panther. Each is accompanied by a brief summary and publication history of the narrative and information about the creative team. The second bibliography, “Resources,” directs readers to a chronology of useful and historically significant secondary sources. Gavaler is careful to point out that these are only a tiny percentage of what is available. This, too, is briefly annotated regarding the author and the significance of the text.
This is a very dense book, packed with ideas and approaches, that offers a remarkably thorough guide, although sometimes the lists dominate. It could be considered a programmatic classroom textbook, given that it is in part based on an honors seminar course the author originally developed and ran in 2008. It would be useful whether in teaching a whole module/class on superhero comics as part of a range of degrees, or as part of a comics-specific course of study. It will also be very useful for guiding undergraduates in a number of disciplines who might, for instance, wish to write a dissertation about some aspect of comics, and to a range of academic writing in the area. It will also support non-comics-specialist staff in an understanding of this genre and can be dipped into for inspiration or support on specific topics.
