Category Archives: WOW Comics

Depiction Of Heroes in Wow comics no. 12 © Copyright 2017 Sebin Kang, Ryerson University

2017 Canadian Whites, ENG 810 Fall2017 Section 011 - Monique Tschofen, Uncategorized, WOW Comics, , ,

Sebin Kang

Dr. Monique Tschofen            

ENG 810

29 November 2017

Depiction of Heroism in WOW Comics Issue no.12

Heroes have always been known throughout many stories and in real life. It has been established as a real concept without truly knowing what a hero really is. A firefighter, a nurse, and soldiers are all considered to be examples of heroes. Someone who saves or help people is what people generally believe a hero to be, or even something simple as doing the right thing can be considered a hero. For one thing, it is someone who we admire. Superheroes, on the other hand, might be considered something more than a hero, more specifically who can do the impossible. Superheroes or heroes both have similar characteristics, which is that they inspire and influence people. Specifically for people of the younger ages because children are at their growing stages and are prone to be influenced due to their minds constantly evolving and processing new information. The comic that I am analyzing shows how Canadian war heroes are depicted in comic books as superheroes. Superheroes have been present in comics since before World War II and the intended audience for these comics are the children. Real life war heroes inspired high morale during the wartime, and to convey their importance and inspiration to an audience of children, they were turned into superheroes in order to inspire young adolescents to do the same. Superheroes are created to inspire and during the production of this comic, times were difficult for people and the purpose of depicting heroes in comics was made to inspire and give hope to children. It was created with the intent to give positivity and hope to children during challenging times.

The comic that I have been assigned is Wow Comics no. 12, and the specific issue I will be studying on will be my examination of how Canadian war heroes are depicted in comic books as superheroes. In my comic, I have noticed that one of the stories in my comic was titled, Tommy Holmes, and I speculated that there was a reason why the comic was so detailed and once researched, I found that Tommy Holmes is a very real person who had fought in World War I and I found this particularly interesting because there is a reason why this was done so the way it was. Therefore, I will mainly focus on the story of Tommy Holmes and the depiction of the soldiers as superheroes as well as other stories within the comic.

Tommy Holmes and his heroics

Tommy Holmes is represented as the main hero of the story and helps in the contribution of the interpretation of heroes. The definition of heroes is different for everyone but one that is most notable for everyone is that it is someone who is selfless and a good person, as well as willing to risk their own life to save another. The story of Tommy Holmes starts off with a narration describing Tommy Holmes. It explains how Holmes was one of the youngest Canadian soldiers during World War 1 and has served with the 4th Canadian Mounted Rifles, Canadian Expeditionary Force. When hearing the word “Soldier”, one understands it is a person who risks their life in order to fight for their country. This comic story dedicates Holmes as a hero in a couple of forms. It begins with the art of the comic and the narratives displaying the hardships of the war. Fallen weapons were shown to delve into the outcome of the war and, heavy rains causing a very dangerous and harsh environment for the soldiers to be in. Not only does this story emphasize on the heroics of Tommy Holmes, it also shows the heroics of all the soldiers. It shows fellow soldiers helping one another through the harsh environment. The beginning of this story already manifests how awful the Canadian wars were. This comic does a good job in the representation of war. Each panel shows the chaos of these violent images. This serves a purpose of showing the realism and to show the audience how horrifying war was through these brave soldiers who fought through the war and gave up their lives. It helps to show the heroics of these soldiers, specifically Tommy Holmes. There are many different types of heroes. Some heroes attack more while other heroes defend more. In my comic, it displays to be an attacker. He ran through the ranks in order to take out the enemies but he does not attack in a way to beat his opponents, he does it in order to defend his comrades. One must first understand basic hero types and why they were created in order to understand them. Superheroes generally have powers. In comics, people know they are superheroes because it is their job to be one. They dress up in costumes and fight crime but in these comics, the soldiers’ jobs are not supposed to be heroes. They do not fight to be known as heroes but fight until the end of the battle. Tommy Holmes does not have powers but he represents one. The comic shows this through Tommy’s real acts in the war. This was also shown in the comic when all his comrades could not do anything against the heavy machine gun fire but Tommy runs through the bullets and takes them down. It shows his bravery and courage and this is a major component in “superheroes”.
Superheroes are known for their bravery and courage and this comic does a good job of representing Tommy Holmes as a “superhero”

Construction of heroes in literature

In every comic, heroes are constructed differently. There is Superman who is considered to have been always good and righteous in every way or Spider-Man who learned through tragedy and became a hero. Superheroes are generally characters who have a well-rounded backstory while heroes can be anyone who does good. Tommy Holmes can also be considered as one. In the comic, the narrative explains who he is right from the start, and continues to tell the audience what he is best known for and what heroic deed he performed.

“Wow Comics, No. 12” , Bell Features Publishing, Canadian Writer’s Comic Book Collection. 1941-1946, RULA Archives & Special Collections, Ryerson University, Toronto, Canada

In these panels, the narrative describes the acts of Tommy with spontaneous words to amplify his heroism. Terms such as “Marvelous” and “Coolness” is used to describe his heroism. On the second panel as well, it describes how “good” he is, defeating Nazis and fighting for his country. When reading and learning about heroes, there are couple things people study. The heroes background is important because it lets the readers know who he is. Every superhero in comics has a backstory and this is one of the main reason why they are so popular. The history allows the readers to see the growth and transformation the character goes through. Using exaggerated words such as “Spectacular” or “marvelous” helps to make the characters greater because the readers are being told who and what attributes to admire. What my comic does in the study of heroes is that firstly they used a real person who was a hero as a character which establishes the term, heroism. They gave the necessary history the audience needed to know to understand this story

Tommy Holmes’ Heroic Acts

. The comic also tends to optimize everything. They build up the character’s good qualities. In the panel below, two soldiers are staring in awe at Tommy for not being able to do what he did. They looked on in “amazement” and this shows how they encourage Tommy’s strength as a hero and this also displays his comrade’s reaction to admiration. Showing reactions also encourage and influence similar to laugh tracks in sitcoms to show the audience what they should be experiencing and doing. In the second panel, the narrative describes his ability to throw a grenade. In normal stories, just stating what is happening is the case but in comics, they make more of the situation. They exaggerate to show admiration. Comic’s make something simple as throwing a baseball into a more magnificent. If one were to look at the image without the narratives, Tommy is just throwing a grenade. It can be compared to a normal person throwing a baseball as such description but the narrative is what brings out the heroism. Comics job is to use both art and narratives to create a unique form of storytelling. Tommy Holmes is written as if he is a superhero due to the narratives. He has no superpowers yet he is looked upon by readers.This comic does a good job of displaying Tommy as a hero.

Comic heroes and the Influence

I have found sources which help inform people of heroism and the influence it has. In the article I have found, there is a passage stating “To understand the process whereby the Canadian comic book industry was repatriated as a part of Canadian nationalism, it is important to consider not only the history of the comic book in Canada but, more importantly, the ways that fan discourses help to shape the recuperation of the Canadian superhero during its second wave of popularity in the post-Centennial period by distinguishing it from superheroes in the United States.” (Making sense of the Canadian Superhero) This passage touches on the fact that fans influence characters in comics. During the times when Wow Comics were created, times were not happy. Comic book industries take notice of the war which influenced the stories they write. The illustrator and the writer knew who Tommy Holmes was and made him into a character because he influenced real people such as his fellow soldiers during the war and so by including him into comics to give the same effect on the audience reading the comics. Realizing the character in the comic was a real person and a hero contributes greatly in the war by influencing people due to admiration. During the war times, there was hardly any hope. The children’s fathers went out to war to fight not knowing if they would come back home to their families. Many supplies were lacking and the food was scarce because they were deposited and scattered in order to aid everyone. “As the war nears its devastating conclusion, both children are forced from the shelter of their families and must struggle to survive amid the rubble of a bombed-out Berlin” (Rennison, Nick. “Children in War.”), this article explains the lacking of supplies and homes children experienced during the war. Times were not simple and happy but more depressed and hopeless. People had to find small joys during the war to keep them positive and comics were the small joys of war. Comics gave joy and small hopes to kids and even adults. The comics also show influence in one of the other stories shown in my comic.

“Wow Comics, No. 12” , Bell Features Publishing, Canadian Writer’s Comic Book Collection. 1941-1946, RULA Archives & Special Collections, Ryerson University, Toronto, Canada

The story is called Whiz Wallace Bombers to Victory. In this comic, a heavy viewpoint of influence occurs when the main character Whiz Wallace, had to leave for the war and his love interest, Elaine Kenyon had to stay behind because she was a woman. When no one was looking, she had an idea to knock one of the pilots, put on his uniform and help fight. This did not go well as her plane crashed but she somehow survived. Although Elaine is a character from the comics, it still represents the realism of influence. Soldiers are depicted as “superheroes” which then influences people to do something and in this case, it influenced a grown woman to do some good. Children are the intended audience and as previously mentioned, kids are constantly growing and learning new information and are easily influenced. Seeing someone do something, can influence children’s behavior and in this case, can also influence children to do good as well. Even in the comic, admiration of heroism influenced the character to do the right thing. Heroes inspire not just kids but adults as well.

In conclusion, I have proved that all these elements were administered to further show the “super” in the heroism of Canadian soldiers in the war. This was shown with the usage of real characters, the comic form of narration, the construction of heroism of comics and the influences heroes have on people. As well as observing and analyzing the comic panels while mainly focusing on the comic form of Tommy Holmes and the way the story was written. This allows us to see the influence “superheroes” have on people through the depiction of soldiers as “superheroes” This is important because influence is a powerful tool and many would not see comic book as an influential tool. Comic books are seen as silly stories with pictures but there is so much more to a comic book than what it implies. Every child grew up admiring someone or something at one point and in this case, comics are the source of inspiration for the stories it tells.

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Work Cited

Beaty, Bart. “The Fighting Civil Servant: Making Sense of the Canadian Superhero.” American

Review of Canadian Studies 36.3 (2006): 427-39. Web. 24 Nov. 2017.

https://journals-scholarsportal-info.ezproxy.lib.ryerson.ca/details/02722011/v36i0003/427_tfcsmsotcs.xml

“Thomas William Holmes VC.” Lives of the First World War,

livesofthefirstworldwar.org/lifestory/5933980#timeline.

https://livesofthefirstworldwar.org/lifestory/5933980

Rennison, Nick. “Children in War.” Sunday Times, Jul 30, 2017, pp. 38, Global Newsstream,

http://ezproxy.lib.ryerson.ca/login?url=https://search-proquest-com.ezproxy.lib.ryerson.ca/docview/1924355716?accountid=13631.

Wow Comics, No. 12 , Bell Features Publishing, Canadian Writer’s Comic Book Collection.

1941-1946, RULA Archives & Special Collections, Ryerson University, Toronto, Canada

Disclaimer

Images in this online exhibit are either in the public domain or being used under fair dealing for the purpose of research and are provided solely for the purposes of research, private study, or education.

Appropriation and Misrepresentation: Race Issues in WOW Comics, Issue no. 15 © Copyright 2017 Nura Mohamed, Ryerson University

ENG 810 Fall2017 Section 011 - Monique Tschofen, WOW Comics, , ,

Nura Mohamed

Dr. Monique Tschofen

ENG810

29 November 2017

Appropriation and Misrepresentation: Race Issues in WOW Comics

Illustrations are used as a means to convey messages and information text cannot quite capture. Examining illustrations closely in WOW Comics issue no.15 reveal stereotypes and ideas imparted by the creators based on their opinions and the effect of their environments at the time of production. These comics were produced during WWII, a time where racial conflict ignited all around the world and negative stereotypes about ethnic minorities were widespread. Canada had different ethnic minorities fighting in the war efforts, including Indigenous, Black and Asian Canadians, therefore accurate representation of ethnic minorities in comics, or lack thereof is important to explore. The ways through which ethnic minorities are illustrated in this issue convey animalistic themes and messages of enmity. The illustrations also shed light on racial inequalities prevalent in Canada by always depicting white Canadian characters as heroes and characters of other ethnic backgrounds as villains.  In Marc Singer’s journal article “Black Skins” and White Masks: Comic Books and the Secret of Race”, he emphasises that racial stereotypes are understood through comics. He argues “Whether these stereotypes assume the form of unrealistic portrayals of racial minorities or an equally unrealistic invisibility, they often fulfill this double function of oppression and reaffirmation”, explaining how representation and erasure in illustrations found in comics matter in developing racial understanding. Despite the documented efforts of ethnic Canadians during WWII, literature created during that time often portrays them in a negative light or erases their efforts during the wartime. Analyzing my chosen comic’s illustrations will shed more light on the racial perceptions and stereotypes directed towards ethnic minorities in Canada during WWII.

Misrepresentation and Erasure in Statistics & Media:

Not only did ethnic Canadians face racial stereotypes similar to and worse than those illustrated in WOW Comics issue no.15, their efforts during wartime were misrepresented in government recordings. This inaccuracy assists in explaining the lack of diversity in the comics, as the documented reality did not support diversity, nor do the illustrations in the comics. The government documentation of ethnic Canadian participation in war efforts is directly contrasted by this comic’s lack of ethnic Canadian representation in recognizable military roles. Recorded facts clearly demonstrate participation, however inconsistencies in Canadian statistics make it difficult to gauge how misrepresenting and inaccurate the illustrations are. The Canadian government exemplifies statistical uncertainty through their use of language such as one about the Indigenous community that reports “At least 3,000 status (treaty) Indians – including 72 women – enlisted, as well as an unknown number of Inuit, Métis, and other Natives. The actual numbers were no doubt much higher” (WWII: Facts & Information). More exhaustive research reveals other ethnic groups contributed to Canadian wartime efforts, with records indicating that “‘Hundreds’ of blacks are said to have joined, as did 3,090 status Indians or 2.4 percent of males, a figure that does not include non-status or metis males. About six hundred Chinese-Canadians served, or  so  Chinese  cultural  groups  claim” (Granatsein 177). It is evident that despite poor record keeping, there is irrefutable proof of ethnic participation in WWII. While there are multiple comics in this issue depicting war scenes, no characters represent Canadians from ethnic backgrounds. All soldiers are Caucasian males in the comics, and these illustrations neglect representing ethnic Canadians efforts in WWII.   The comics serve as a representative example of how the documented realities of wartime efforts by ethnic Canadians were erased in mass media.

Indigenous “Savage” Representations in Illustrations:

The minimal representation ethnic minorities receive in the comics are characters that play the antagonist role of enemies, with animalistic illustrations. Regardless of ethnic Canadians efforts in establishing and strengthening Canada’s economy, communities, and war efforts, their role in Canada is diminished to that of an enemy. Indigenous depictions in the comic solidify this notion as Indigenous Canadians are represented as foreign savages because they did not fit the idea of what a Canadian would look like. Analyzing comic books reveal how the “savage” Indigenous character is a popular theme in North American popular culture. Richard King explains, “conventionally comic  books  confine  Native  Americans  within  ugly  images  and  partial  histories” (215), which is seen in WOW Comics through the way Indigenous Canadians are illustrated as well as the role these characters are assigned. “Jeff Waring” by Murray represents is a comic in this issue that represents this idea where Jeff Waring and his partner stumble onto land populated with an Indigenous community after getting lost on one of his frequent adventures. Despite Jeff and his partner entering Indigenous lands while armed, they are illustrated as victims and the Indigenous characters are illustrated as savages in an animalistic manner.

Example of the depiction of Native characters in WOW Comics. Found in WOW Comics, No. 15, Bell Features Publishing, Canadian Whites Comic Book Collection, 1941-1946, RULA Archives & Special Collections, Ryerson University, Toronto, Canada.

Jeff Waring struggles to fight an Indigenous character, who is illustrated looking similar to what can be described a hybrid between a human and an ape. Jeff is subdued by this character, and is illustrated looking meager and helpless. His partner is taken by two Indigenous characters that tower over her, twisting her arm behind her back. The illustrations emphasize the notion that Indigenous Canadians would always be seen as foreign savages and would be considered as enemies. These illustrations made during WWII are accurate representations of how the Indigenous community was being treated at that time, as well as how other Canadians viewed them. The Canadian government operated as a white institution when recruiting soldiers for the army, only enlisting Indigenous Canadians when there were labour shortages (Riseman 905). Despite blatant discrimination while enlisting and fighting the war, Indigenous Canadians fought bravely during WWII. However, they continued to be represented through negative racial stereotypes in the media that contrasted the reality of Canada, as seen by the illustrations in the issue of my comic. Racial stereotypes were demonstrated through the illustrations in the comics of Indigenous Canadians who were portrayed as savages. Minimal thought is given to the understanding that illustrations such as these serve as a reinforcement of racial stereotypes. King argues that creators never “consider the impacts of such images or sought the input or interpretations of indigenous peoples” (215), which proves these illustration only further cement racial ideologies in media such as the savage portrayal of Indigenous Canadians.

Racial Stereotypes and Cultural Appropriations in Illustrations:

Throughout the comics, there are references to different ethnic groups within Canada and around the world. The illustrations depict how Canadians would perceive these ethnic groups to look like and the text bubbles accompanying the illustrations reveal how Canadians think these ethnic groups would speak like. Understanding the importance these illustrations possess is crucial, as the illustrations convey racial perceptions that are understood by the mass population of Canada, which are the intended population for these comics. Race in comics isn’t only understood and conveyed through the colour of a character, but the statements, phrases, body language, and clothing depicted by these ethnic characters. These characteristics shed light on racial stereotypes, and research reinforces the idea that “representations not only motivate individual readers toward prejudice, but affect society as a whole by normalizing racist standards through repetition” (Singer 108). In the comic, “Whiz Wallace and The Desert Demon” by E.T Legault, an American soldier Whiz Wallace and his partner Elaine get lost in the dessert and encounter a band of horsemen. Immediately the horsemen capture Whiz and Elaine, and tie up Whiz by all four limbs to prepare to brutally murder him. Not only are the bands of horsemen referred to as “desert savages” and are quoted swearing by Allah, they are illustrated to fit the description with long facial hair and turbans. These illustrations convey an understanding held by the intended audience of the comics, Canadians, of how people from the Middle East would look like. “Whiz Wallace and The Desert Demon” also highlights cultural appropriation as racial stereotype in the comic’s illustration. Whiz’s partner Elaine is seen wearing what appears to be a scarf or turban when she is travelling through the dessert and dealing with the dessert men. However when she is caught by the Germans, Elaine no longer has a scarf on and is back looking like a regular American.

Cultural Appropriation in WOW Comics
Change in Elaine’s head covering, illustrating cultural appropriation. Found in WOW Comics, No. 15, Bell Features Publishing, Canadian Whites Comic Book Collection, 1941-1946, RULA Archives & Special Collections, Ryerson University, Toronto, Canada.

Elaine’s wardrobe change is an example of cultural appropriation rather than appreciation, as she wears clothing depending on whomever and wherever she is. Appropriation such as the one in this example are extremely offensive to ethnic groups, as it is seen as mockery towards the customs and culture of such groups. Illustrations are artwork that can be understood as offensive by ethnic groups, while not seen as offensive by the creators, and research demonstrates that “The knowledge that artworks are being produced by means  of  cultural  appropriation  may  be  offensive  even  to  people  who  do  not  experience  the works themselves” (Young 135). Cultural appropriation is offensive and racist, and illustrations such as the ones in this comic depict how Canadians internalize these appropriations as well as racial stereotypes.

In Conclusion:

The illustrations in Wow Comics issue no. 15 emphasize how racial stereotypes were enforced within the comics and understood by Canadians. The company that produced these comics, Bell, were extremely popular with Canadians and represented what it meant to be Canadian, as Library and Archives stresses “Bell’s line of comics was unabashedly Canadian” (Beyond the Funnies). Whether it was a war comic, a detective story or an advertisement selling arts and crafts for children, the content related to material Canadians would be able to relate to and understand. The illustrations convey the misrepresentation of statistics by the government through the lack of diversity present in military roles assigned to characters in the comic. There is also an erasure of certain ethnic groups such as Chinese and Black Canadians in the comics, despite documented assistance provided by Canadians from these ethnic groups in WWII on the home front as well as on the battle ground. The comics also assign ethnic characters the role of protagonists and further this portrayal by drawing them in animalistic and racist manner. The savage Indigenous character is a perception that has been ingrained within Canadian mass media, and continues to perpetrate racist ideologies.  Racist illustrations are conveyed through the way ethnic characters are illustrated and the demeanor through which they carry themselves. Furthermore, characters depict racial appropriation which is extremely offensive but is in line with the lack of representation and diversity within the characters in this comic. It is essential to recognize that the illustrations in these comics are a medium for understanding racial ideas prevalent in Canada during WWII. The illustrations assist in comprehending the contradicting documented realities of ethnic Canadian contributions to how they are represented in mass media. Research conducted in a journal article, “Comics—A Medium for Racism” firmly establishes this idea, noting that “Comics have failed to recognize the multiracial society, let alone join it and they consequently remain a medium for racism and an artifact of cultural imperialism” (Carrington and Geoff 14). The representations conveyed through illustrations such as the ones found in WOW Comics issue no.15 lack diversity and convey clear racial stereotypes which are unfortunately all too common in comics.

 

 

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Work Cited:

ARCHIVED – History of Comic Books in English Canada – Beyond The Funnies. https://www.collectionscanada.gc.ca/comics/027002-8000-e.html. Accessed 24 Nov. 2017.

Carrington, Bruce, and Geoff Short. “Comics—A Medium for Racism.” English in Education, vol. 18, no. 2, 1984, pp. 10–14. Scholars Portal Journals

Erik, Hillis. “WWII: Facts & Information – Canada at War.” Canada at War RSS, 4 July 2009, 20:33, www.canadaatwar.ca/content-7/world-war-ii/facts-and-information/.

Granatsein, Jack L. “Ethnic and Religious Enlistment in Canada During the Second World War.” Canadian Jewish Studies / Études juives canadiennes, vol. 21, 2013, pp. 174-180

Iseke, J. M., & Desmoulins, L. A.. “CRITICAL EVENTS: MÉTIS SERVICEWOMEN’S WWII STORIES WITH DOROTHY CHARTRAND.” The Canadian Journal of Native Studies, vol 33, no. 2, 2013, 29-54.

Kelley, Venita. “Negotiating Black Masculinity While Reading Comic Books.” Review of Communication, vol. 3, no. 3, 2003, pp. 192–99.

Patrias, Carmela. “Race, Employment Discrimination, and State Complicity in Wartime Canada, 1939-1945.” Labour / Le Travail, vol. 59, 2007, pp. 9–41.

Peppard, Anna F. “Canada’s Mutant Body: Nationalism and (Super) Multiculturalism in Alpha Flight vs. the X-Men.” Journal of the Fantastic in the Arts, vol. 26, no. 2, May 2015, pp. 311–32.

Singer, Marc. “‘Black Skins’ and White Masks: Comic Books and the Secret of Race: Document View.” African American Review, vol. 36, no. 1, 2002, pp. 107.

Young, James O. “Profound Offense and Cultural Appropriation.” The Journal of Aesthetics and Art Criticism, vol. 63, no. 2, 2005, pp. 135–46. Scholars Portal Journals

WOW Comics, No. 15, Bell Features Publishing, Canadian Whites Comic Book Collection, 1941-1946, RULA Archives & Special Collections, Ryerson University, Toronto, Canada.

Disclaimer: Images in this online exhibit are either in the public domain or being used under fair dealing for the purpose of research and are provided solely for the purposes of research, private study, or education.

Physical Mediums: The Social, Cultural and Physical Histories of Wow Comics

2017 Canadian Whites, ENG 810 Fall2017 Section 011 - Monique Tschofen, WOW Comics, , ,

©Copyright 2017 Tony Carlucci, Ryerson University

 

Comics’ Beginnings:

Not Just a Visual Medium: A Physical One

Fig.1. Adrian, Dingle. Cover, Wow Comics. No.20, Digital, Bell Features Publishing: http://data2.collectionscanada.gc.ca/e/e447/e011166682.pdf

In 1942 Cy Bell, the owner of Bell Features, borrowed $75,000 from the Industrial Development Bank and spent $50,000 on a used offset lithography printing press from the Cleveland Plain Dealer. In Bell’s first print run of Wow Comics, issue No.1 sold 52,000 copies and before the war ended, a total of 20,000,000 were distributed. Wow Comics issue No.20 was printed on newsprint stock using offset photolithography and two-tone color printing (Hirsh).

Often, comic studies focus on visual illustrations and the meaning they produce through textual and visual elements. The visual content act as entry points for the reader to understand the deeper social, cultural and historical complexities of the comic. To read Wow Comics issue No.20 and experience it solely as a visual expression of ideas would be to ignore the deeper meaning we can draw from its physical properties. David Pantalony, museum curator and historian, asserts that the physical histories of an artifact act to enrich and deepen how we understand that artifact (52). The following paper will delve into Wow Comics’ physical qualities, paper and printing processes, and their lesser known social and cultural histories. Marshal McLuhan’s famous argument “the medium is the message” will build upon Pantalony’s ideas by showing how the physical elements of the comic, its medium, not only enrich our understanding but create meaning (1). Finally, Ian Hague’s insights on how touch plays a key role in experiencing comic books as a physical medium will be useful for exploring how Wow Comics as a physical artifact connotes different meaning than its digital counterpart.  What happens when we explore the physical histories of Wow Comics issue No.20?  Let’s find out.

Physical Entry Points: Historical Complexities of Canada’s Lithographic Industry

Before we begin our exploration of Wow Comics’ lithographic history, an illustration of Pantalony’s methodologies will serve to clarify our discussion. In Pantalony’s work, Biography of an Artifact: The Theratron Junior and Canada’s Atomic Age, he argues that museums frequently fail to explain their artifacts rich social, cultural and historical complexities (52). Pantalony exemplified his argument by exploring the physical artifact called Theratron Junior, a green radiotherapy device that lives on display at the Canada Science and Technology Museum in Ottawa. In his pursuit for new complexity, he uncovered that the Theratron Juniors green paint reflected the Canadian governments intention to entice commercial and aesthetic sensibilities of prospective foreign buyers (61). The green paint,  an element of its medium, challenged a traditional narrative that the Theratron Junior was a single purpose medical attention device. In comic studies, visual illustration dominates the traditional narrative that meaning is produced solely through illustration. But those visual illustrations did not appear on the comics’ pages by chance, they have a complicated history.

From first hand accounts of Cy Bell we know Bell Features’ offset printing press came with unexpected difficulties.

Fig.2. Frank, Booth. Brigdens Limited (1893-1912), Bay St., w. side, between Wellington & King Sts W.; INTERIOR, wood engraving shop. Photograph, 1900. Toronto Reference Library Baldwin Collection. Public Domain.

Bell explains: “hiring men to run it was another matter….lithography has always been a very tight-lipped business” (Hirsh). Bell’s insights allow us to peer inside the window of Canada’s lithographic history. In 1870 lithography was first established as a trade on the east coast of Canada (Davis 154). As lithography techniques progressed into the late 19th and early 20th centuries a new form of printing came to prominence: photolithography. Photolithography’s invention caused a disruption in the economic and social fabric of Canadian labour.  With its adoption into Canada’s graphic arts industry in the early 20th century a cultural tension was born between early pressmen, lithographers and photo engravers. The tension arose from new skill sets that were required to operate offset lithography and photoengraving machines. The pressmen’s union wanted to learn the new skill sets to establish a dominant role over the lithographers and photoengravers (Davis 145).  The pressmen sought support from the photoengravers but were denied in large part because the photoengravers union was far less established than the Lithographers of North America or the International Printing Pressmen and Assistants Union (David 146).

Bell’s comments and the historical tensions between pressmen, lithographers and photoengravers illuminate the deep social, cultural and economic complexities of Canada’s graphics arts industry. Now when we observe the comic’s dark ink pressed onto the thin, beige pages our understanding of how those images were produced is altered. They are not just creative fictions of one individuals mind but rather were born from the struggle between professional unions to maintain economic dominance in a shifting landscape. Through this research we produce new meaning from the comic’s medium that enriches our understanding and illuminates a narrative that has been, for the most part, hidden inside the pages of Wow Comics.

Parts UnKnown: Pulp & Paper, Newsprint and Canadian Invention

Wow comics was produced on newsprint, a form of cheap paper used primarily by the newspaper industry.  According to Marshal McLuhan, the medium (TV, radio, books, comics, etc) is more relevant in conveying meaning than the content of that medium (2).  McLuhan gives the example that form and function are often separated (5). He states, individuals ask what a “painting is about” but not “what a house or a dress is about” (5). What he means is by asking what a “painting is about” we acknowledge both form, literal paint on canvas, and function, artistic expression. For Wow Comics, we need to ask how the comics form, a photolithographic paper product, creates meaning in relationship to its function, artistic expression. For that answer, we turn to the history of newsprint.

Fig.3. n.d. Canada’s Northern timber lands provide the millions of tons of paper used yearly by the Canadian newspaper industry. The Star gets a large quantity of its supply from the Thorold pulp mills, where mountains of potential reading matter are piled. Around 350 tons of paper are used by The Star Weekly alone, every week in the year. Photograph, 1941. From the Toronto Star Photo Archives. Toronto Reference Library Baldwin Collection. Public Domain.

Newsprint was invented in 1844 by Charles Fenerty, a native of Nova Scotia (Burger 32). During the period before Fenerty’s discovery, rags were the main material used to create paper. In the 1840’s Europe sanctioned rag exportation and Canada’s demand for a new source of paper arose (Burger 31). Fenerty discovered that wood pulp could be ground and turned into a paper product (Burger 33). His discovery was revolutionary because it allowed Canada to begin exporting one of its most abundant resources: wood (Burger 33). The newspapers took advantage of the new, cheap source of paper at a scale which was previously not available (Kuhlberg).

McLuhan notes that the “message” of a medium can be understood by “the change of scale or pace or pattern that it introduces into human affairs” (1).  He gives an example of how the railway altered the way in which humans lived and worked (1). By parallel, the newspaper industry was able to produce and distribute a much larger volume of content to a vastly larger audience. This shift changed our relationship to paper from one of value and preservation to volume and impermanence. By that very extension we find ourselves back at Wow Comics.  The physical grainy and fragile pages of Wow Comics issue No.20 connotes its own message: it was not meant to be preserved. The origins of newsprint as the physical medium of newspaper industries also tells us Canadians’ relationship to newsprint paper was ephemeral, meant to be consumed and discarded each day. The physical medium not only provides an opportunity to enrich and complicate the physical history of the artifact but it also produces meaning through its form, the physical paper it was produced on.

Experiential Medium – Ian Hague’s Touch

By flipping the pages of Wow Comics, the reader experiences the comics medium through touch. Ian Hague, a cultural studies scholar, argues that to fully appreciate the message a comic book conveys we must go beyond the visual (99). He stresses “comics are not images without material substance, they are physical objects that we interact with in physical ways” (98). Hague’s stress on the comic’s physicality as a form of communication extends the work of McLuhan. Hague goes on to specify, expounding that physical touch is a key component of how the message of a comic is delivered. At the most fundamental level by holding the book we are reminded of its physical presence (99).  By flipping the pages of Wow Comics we are reminded of its most basic form, paper. This experience in turn creates a connection between our hand and mind which promotes inquiry into an entry point (history of paper) that can be explored.

In his article Hague uses Art Spiegelman’s’ In the Shadow of No Towers as an example of how physical form and touch create meaning (101). He notes “it is a large board book printed on fairly hard cardboard pages rather than soft paper. Producing the work in this fashion makes a powerful statement because the hardness here serves to suggest permanence and significance” (101). By the same logic, Wow Comics’ paper medium as cheap and historically ephemeral not only conveys impermanence but highlights the insignificance of its content. An object that is not meant to be preserved would not hold meaning which is valuable to society. But when we change the medium from physical to digital, that changes.

Fig.4. Tony Carlucci. Video of Wow Comics, No. 20, Bell Features Publishing. Canadian Whites Comic Book Collection, 1941-1946. RULA Archives and Special Collections, Ryerson University, Toronto, Canada.

 

What about the digital? Medium specificity

When we cannot experience the physical object through touch we hinder our ability to understand, explore and create meaning through the social, cultural and historical complexities of the object. My experience with Wow Comics from the beginning has been 90% digital. I have experienced the artifact by clicking a mouse and tapping arrow keys.  Did I lose out on an enriched and complicated understanding of the physical artifacts medium? My answer is no, but its complicated. By nature of my profession, I studied the object in question. I was forced to be intentional and dig (Pantalony), understand the medium (McLuhan), and experience the object (Hague). But for the average person that intention may not be there.

The digital object without a relationship to the physical flattens rather than enriches. By flatten I mean it acts as a passive agent ready to be accessed. By contrast, the physical object is an active agent always present in our hands,demanding connection between us and its physical existence. Hague’s view is not quite as polarized and I intend to complicate my own argument here. On one side Hague notes that when an artifact is digitized it loses unique qualities such as texture and smell, experiences that have yet to be imitated in the digital space (104).  Conversely, he acknowledges that digital comics’ use of sound is far beyond physical comics (105). Hague takes a neutral position. Wow Comics as a digital artifact may flatten the experience but it also allows the reader to easily access those rich social, cultural and historical complexities. Without the internet, my knowledge of the physical artifact may have been vastly limited in its scope. If the physical objectivity of the artifact creates connections which promote inquiry then the digital artifact allows that inquiry to bloom into knowledge. Both the digital Wow Comic and the physical comic together create an enriched experience. A world without any physical artifacts points to a whole new meaning that we will have to explore later.

Conclusive? Physical Mediums and the Messages They Convey

The stories behind each of the comic’s physical properties create rich contextual meaning and convey a message of their own.  A Canadian invention, newsprint as a cheap medium specific to the newspaper industry connoted impermanence and devalue. We also learned that new photolithography techniques created discord among Canadian pressmen, lithographers and photoengravers. As a result, Cy Bell, the founder of Bell Features, had trouble finding lithographers to physically print his comics (Hirsh). Pantalony made the argument that the physical properties of an artifact matter and so did Marshal McLuhan. For McLuhan, the whole medium,  the comics pages,lithography, etc, conveys a message that is separate from the content. Hague built off McLuhan by arguing that the physical experience of a comic is equally important as the visual.

Our experience of the physical comic is important because we gain a deep connection to the object, understanding what the medium is conveying and how that medium is a site for rich social, cultural and historical complexities. What happens when we flatten those complexities through the digital? We no longer actively engage but rather passively consume. But that last statement is complicated because the digital allows easy access for our inquiries to bloom into knowledge. The future holds any number of possibilities for Wow Comics and the future of the genre but we must remember, the physical existence of our artifacts is critical in understanding why they matter.

 

Works Cited

Adrian, Dingle. Cover, Wow Comics. No.20, Digital, Bell Features Publishing, Canadian Whites Comic Book Collection, 1941-1946. Library and Archives Canada, Rare Book Collection. http://data2.collectionscanada.gc.ca/e/e447/e011166682.pdf.

Burger, Peter. Charles Fenerty and his Paper Invention. PB Publishing Inc, Toronto, Canada, 1971. http://www.charlesfenerty.ca/book_folder/BURGER%20%20Charles%20Fenerty%209780978331818.pdf

Davis, Angela E. Art and Work: A Social History of Labour in the Canadian Graphic Arts Industry to the 1940s. McGill-Queen’s University Press, 1995. Scholars Portal Books, http://books1.scholarsportal.info.ezproxy.lib.ryerson.ca/viewdoc.html?id=34183.

Frank, Booth. Brigdens Limited (1893-1912), Bay St., w. side, between Wellington & King Sts W.; INTERIOR, wood engraving shop. Photograph, 1900. Toronto Reference Library Baldwin Collection. Public Domain.

Hague, Ian. “Beyond the Visual: The Roles of the Senses in Contemporary Comics” . The Scandinavian Journal of Comic Art, vol. 1.1, pp 96-110, 2011. http://sjoca.com/wp-content/uploads/2012/06/SJoCA-1-1-Article-Hague.pdf

Hirsh, Michael, et al. The Great Canadian Comic Books. Peter Martin Associates, 1971.

Kuhlberg, Mark. “Pulp and Paper Industry”. The Canadian Encyclopedia, 7 Feb 2006. http://www.thecanadianencyclopedia.com/en/article/pulp-and-paper-industry/

McLuhan, Marshall. “The Medium is the Message”. Understanding Media: The Extensions of Man. Sphere Books, ch.1, pp. 1-18, 1967.

N.d. Canada’s Northern timber lands provide the millions of tons of paper used yearly by the Canadian newspaper industry. The Star gets a large quantity of its supply from the Thorold pulp mills, where mountains of potential reading matter are piled. Around 350 tons of paper are used by The Star Weekly alone, every week in the year. Photograph, 1941. From the Toronto Star Photo Archives. Toronto Reference Library Baldwin Collection. Public Domain.

Pantalony, David. “Biography of an Artifact: The Theratron Junior and Canada’s Atomic Age” Scientia Canadensis, vol. 34, no. 1, 2011, pp. 51 -63.

Wow Comics, No. 20, Bell Features Publishing. Canadian Whites Comic Book Collection, 1941-1946. RULA Archives and Special Collections, Ryerson University, Toronto, Canada.

Wow Comics, No.20, Bell Features Publishing. Canadian Whites Comic Book Collection, 1941-1946. Library and Archives Canada, Rare Book Collection. http://data2.collectionscanada.gc.ca/e/e447/e011166682.pdf.

 

Images in this online exhibit are either in the public domain or being used under fair dealing for the purpose of research and are provided solely for the purposes of research, private study, or education.

 

Social Redemption and Elevation during World War II in WOW Comics Issue #4.

2017 Canadian Whites, ENG810-022 Monique Tschofen, Wow, WOW Comics, , , ,

© 2017 Hallett-Hale, Thomas,  Ryerson University

 

Introduction

The Second World War was an event that sparked tremendous social upheaval in the western world, and entire societies were bent on achieving military victory. Such a focus on military service came to elevate it to the top of the social ladder. Soldiers in the service were praised for their bravery, sacrifice, and loyalty; being a part of the military effort during World War Two represented serious social elevation for all, making heroes of ordinary citizens. The status military service offered freely, regardless of ethnicity, represented for minorities and marginalized groups social redemption. Social Redemption here means an elevation of social status for groups who endured repression and discrimination in peacetime society. Media such as Issue #4 of WOW Comics offer a fascinating window into how wide audiences were fed this idea of wartime heroism. The characters of Lorraine and Elaine in WOW Issue #4, as well as women on the wartime homefront, are all excellent examples of how combat heroism and redemption was extended to a priorly marginalized group.

 

Figure 1. E.T. Legault. Panel from “Whiz Wallace.” WOW Comics, No. 4, January 1942, p. 42. Bell Features Collection, Library and Archives Canada.

 

Heroic Redemption for Female Characters

The largest marginalized group who found opportunity and redemption in the Second World War were Canadian women. Opportunities for work at factories, in the Royal Air Force, and in the Army brought women into the limelight. In contrast, the female lead of “Whiz Wallace” is treated with a spectacular lack of respect, and thus tackles social redemption more directly. Her name is Elaine, and in Issue #4 she becomes deeply distressed that other women are fawning over her dearest- the protagonist Whiz. She becomes overcome with despair in her rooms, despair that’s narrated with stark disrespect.“Lying across her bed, Elaine Kenyon, like a foolish child crying for no reason at all, sobs her heart out” (Legault, 36). These words make clear the esteem that the reader is intended to hold Elaine in. On the counter side, our protagonist is portrayed as an earnest hero being snubbed; “Wearied of trying to get an audience with his sweetheart, Whiz goes back to the gathering honouring him, to apologize for Elaine’s action”(Legault, 36). Later, as a seeming punishment for her behaviour, Elaine’s request to join in a combat expedition is rebuffed – and she is left behind. This immense collection of “flaws” that the writer amasses against her only serves to highlight her redemption, as she stows away and fights with the men. Elaine manages to save the life of her companion, despite her perceived weakness. After taking the initiative, Whiz goes from demeaning her to; “Good girl Elaine, I don’t know how you happened to be here, but you’re mighty welcome!” (Legault, 43). This stands as the perfect example of redemption through military action, even from a group so marginalized as to be scorned and left behind for petty misbehaviours. Elaine therefore serves as a figure who, by taking action to aid the military cause of her friends, becomes a heroic figure in her own right; one whose prior misdeeds are erased by bravery.

 

A New Kind of Wartime Character

A reflection of women’s new status is found in my WOW issue, in the character of Loraine. She inhabits the story of “Dart Daring,” as the love interest to the titular protagonist. My issue opens to her brave rescue of Dart from a tribe of angry natives, in which she scales a sheer cliff by herself, sneaks by a hostile camp, and unties our indisposed hero. This is a far greater display of agency than other female characters throughout wartime comics; who often find themselves the victim of unfortunate circumstances rather than the solution. The writer does, however, portray her exploits in language far less heroic than applied to Dart. “Her heart misses a beat,” “Loraine, fear gripping her heart…” (Legault, 5). Her fear is emphasized, and she does not exhibit the cool courage of her male counterpart. And yet, the fact remains that Loraine indisputably clambers up a towering cliff, and braves a camp full of enemies to untie her friend. These feats far exceed being tied to various objects to be used as bait- a fate that inordinately befalls other female characters in many wartime comics. In a time where love interests were often portrayed as kidnapped, threatened, or helpless to create tension, Lorraine’s agency is a heroic new tone. That a heroine could perform heroic deeds in a similar league as a male character is a new brand of story, a portrayal of new, redeemed women, capable of playing stronger roles in w society.

 

Homefront Heroines

Beyond the world of comic books, the concept of women engaged in the war effort blossomed into the idea of wartime Heroines. These women stepped up to aid the war effort, and were acclaimed for doing so. The acclaim was built into the image of women as selfless, patriotic individuals who stepped up to aid their country in its time of need. The wartime service changed the concepts of men and women’s work; instead lauding women for accepting jobs that they could only dream of a decade before. “The war effort and patriotism are presented as the artimcentral motivators for women’s work and the progressive national narrative is strongly endorsed” (Wakewich & Smith, 59), meaning that women’s jobs had become emblematic of patriotic service. The social redemption lay in this recasting of working women as noble heroines aiding their country, simply because the jobs they took were supporting the military effort. This massive shift in thought was so powerful that, even after the war, official wartime record favours the stories of exceptional heroines rather than the everyday exploits of ordinary wartime women (Wakewich & Smith, 59). Thus, the wartime saw women rising from the marginalized social dynamic of women in the 1930s, to be given both greater access to jobs and greater social standing. This social redemption was the prime example of the power the war effort had to elevate and even glamourize marginalized groups.

Figure 2, 1947 painting.”Parachute Riggers,” Paraskeva Clark. Canadian War Museum, http://www.warmuseum.ca/cwm/exhibitions/artwar/artworks/19710261-5679_parachute-riggers_e.shtml

 

The Unredeemed First Nations in Issue #4

However, the forth issue of WOW comics is not entirely generous with this idea of redemption. While women benefit from redemption in combat, the same cannot be said for the Native Americans depicted in the story of “Dart Daring.” These faceless foes are heaped with cultural stereotypes, but with none of the redemption experienced by Elaine. They are termed both as “Howling Redskins,” (20) and “A pack of blood thirsty savages,” (19). Both of these terms are meant to demean and demonize the Natives- a common practice for wartime comics that wished to display their enemies as inferior. Despite Natives being Canadian minority, the writer pulled no punches, as seen when Lorraine is told; “If your friend is wise, he will easily outsmart those varmints! They’ve been drinkin’ the fire-water given to them by some unknown renegade, and they’re on the rampage!” (17). What makes this stereotyping relevant is that Native Canadians, like women, were a minority whom where actively engaged in the war effort on the Allied side. In theory, the principle of redemption that applied to women should have aided them, however this was not the case. Native Americans were welcomed into the Armed Forces, distinguishing themselves there; “[Charles Byce] won the Military Medal in the Netherlands and the Distinguished Conduct Medal in the Rhineland Campaign. His citation for the latter was impressive: “His gallant stand, without adequate weapons and with a bare handful of men against hopeless odds will remain, for all time, an outstanding example to all ranks of the Regiment”(“Indigenous People”). Native American men were accepted and honoured for their service, same as any others. Furthermore, many in the Native community found social “redemption” of their own, a chance to be validated as true Canadians the same as anyone else; “We’re proud of the word volunteer. Nobody forced us. We were good Canadians—patriots—we fought for our country.” – Syd Moore” (“Indigenous People”). Thus, the failure of Issue #4 to portray the heroism that the Natives earned overseas appears to be the inherent preference of Comic writers to stereotype and simplify their villains for children to grasp easily. When contrasted to the respect that real First Nations individuals won through wartime service, the cruel portrayal in Issue #4 does not refute the theory of social redemption.

Japanese Canadians in the Military

A strong example of this idea of redemption through military service lies outside my comic, in the stories of the Japanese Canadians during World War Two. Japanese Canadians, unlike the prior two marginalized groups, belonged to a minority whose former country was actively opposed to Canada and the Allied cause. This caused deep suspicion to fall on an already maligned group. The majority of Japanese Canadians lived on the coast of British Columbia, where they were viewed with deep suspicion and distrust by English Canadians. Eventually, through a mixture of distrust, racism, and a desire to eliminate fishing competition, the Japanese Canadians were relocated all over the country, a great many ending up in internment camps (Sugiman). This kind of widespread social distrust perpetuated appalling conditions that this group were forced to suffer, their homes, possessions, and lives stripped from them. The awful conditions makes the “social redemption” that many young Japanese-Canadian men experienced by joining the Armed Services even more marked, perhaps more so than that attained by Natives and women. These men did not hesitate to join the Forces, since “For [Japanese Canadian] men, a symbolic demonstration of both loyalty to the nation and confirmation of manhood was enlistment in the armed forces” (Sugiman, 195). This show of loyalty was rewarded largely by an escape from internment camps, and a form of social approval. A young Japanese Canadian at the time, by the name of Akio, detailed in an interview the results of joining the Forces; “In almost every reference to his decision to join the army, Akio introduced two related themes: his father’s support of this decision, and his belonging in Canada as opposed to Japan” (Sugiman, 196). It seemed that joining the forces switched the social standing of Japanese Canadians from that of possible enemy agents to loyal, patriotic Canadians. This change is a drastic example of how the redemption process not only exists, but how powerful it was during the war time years. Akio goes on to detail how his military status served as a protection against the racism and discrimination of every day life; “In almost every memory story, Akio juxtaposed the harshness of such discriminatory acts with the loyalty and support of Hakujin [White Canadian] men in the army. Akio believes that his military status in some ways shielded him from the impact of the racism that Japanese Canadians encountered in daily life” (Sugiman, 207). Even the depths of suspicion that an entire ethnic group had fallen to could be redeemed by service in the military, and all that it represented- the patriotism and dedication to one’s country that endowed a social standing all of it’s own, above the stereotypes and judgements of ordinary society.

Conclusion

To conclude, the characters within my issue- Loraine and Elaine- provide an abstract portrait of how the wider society of World War II was taught that military and combat engagement meant social elevation, and in some cases, redemption. The Native Americans, portrayal adds more nuance to the idea, contesting the reality of this social redemption with what the widespread, propaganda-like media spread. What the oral and archival evidence shows is that the social elevation of military service was profound to many minorities and marginalized groups, despite the castigation the Natives receive in my issue. In the end, the drive to win World War II was great enough to defy even the cast iron social standards of pre-wartime society.

 

__________________________________________________________________________

Works Cited

Brcak, N. and Pavia, J. R. (1994), “Racism in Japanese and U.S. Wartime Propaganda.” Historian, 56. 671–684. Retrieved from doi:10.1111/j.1540-6563.1994.tb00926.x

Walker W. St. G. James. “Race and Recruitment in World War I: Enlistment of Visible Minorities In the Canadian Expeditionary Force.” Canadian Historical Review 1989 vol. 70, 1-26. Retrieved from http://www.utpjournals.press/doi/pdf/10.3138/CHR-070-01-01

Wakewich, Pamela, and Helen Smith. “The Politics of ‘Selective’ Memory: Re-Visioning Canadian Women’s Wartime Work in the Public Record.” Oral History, vol. 34(2), 2006, pp. 56-68. Retrieved from www.jstor.org.ezproxy.lib.ryerson.ca/stable/pdf/40179897.pdf

Sugiman, Pamela. ‘“Life Is Sweet”: Vulnerability and Composure in the Wartime Narratives of Japanese Canadians’. Journal of Canadian Studies/Revue d’études canadiennes 43(1) (2009): 186–218. Print. Retrieved from https://muse.jhu.edu/article/367058

Dittmer, Jason, and Soren Larsen. “Aboriginality and the Arctic North in Canadian Nationalist Superhero Comics, 1940-2004.” Historical Geography, vol. 38(1), 2010, pp. 52-69. Retrieved from ejournals.unm.edu/index.php/historicalgeography/article/view/2864/2342

Legault , E T. “WOW Comics.” WOW Comics [Toronto, ON], vol. 1, Commercial Signs of Canada, 1942. No. 4, pp. 1–42.

Clark, Paraskeva. “Parachute Riggers.” Exhibition Theme – Work. Beaverbrook Collection of War Art, 1947. Canadian War Museum, http://www.warmuseum.ca/cwm/exhibitions/artwar/artworks/19710261-5679_parachute-riggers_e.shtml

“Indigenous People in the Second World War.” Veterans Affairs Canada, Government of Canada, 29 Nov. 2016, www.veterans.gc.ca/eng/remembrance/history/historical-sheets/aborigin. Accessed 23 Mar. 2017.

The New Children of 1940’s Comics

ENG810-022 Monique Tschofen, Wow, WOW Comics,

This post will focus on the second issue of the WOW Comics, printed in November 1941, part of the Canadian Whites Collection. In this issue three main stories are: Dart Daring and Perils at Sea , The Ring of Death and Whiz Wallace and the Kingdom of Awe. Out of these three two super hero stories that continue into the issues to come. Alongside the main stories there are interactive games and contests. For example, a drawing contest with the winning prize roller blades. This comic issue also holds, insight on the “Science of Wrestling” as well as war flags and fighter planes. On first glance, the comic seems to be a fun escape for children during the war, but the WOW Comics second issue can be seen as an instructional manual for both young boys and girls in the 1940’s.

Introduction of Children in Literature:
In the mid 18th and early 19th century, the Romantic period, the child came fully into its own as the object of increasing social concern and cultural investment; which in turn brought a new genre into writers’ attention, children’s literature. The previous belief was the Puritan belief, that all humans are born sinful as a consequence of mankind’s ‘Fall,’ which led to the notion of childhood to be a perilous period.

Construction of the Child:
From around the middle of the 18th century, many people in Britain began to think about childhood in new ways. Philosopher Jean-Jacques Rousseau is one of the architect’s whose work rejects the doctrine of Original Sin and maintains that children are innately innocent, only becoming corrupted through experience of the world in Émile, or On Education (1762).
Following Rousseau’s lead, romantic poets such as William Blake and William Wordsworth, childhood became close to God and a force for good. Both Blake and Wordsworth work with the suggestion that the “child-like state of innocence [is] morally and emotionally superior to the condition of adult experience,” (Benziman, 69). Childhood was now associated with nature, innocence, the unconscious, most instinctual being. In children’s literature, the idealized version of childhood became prominent and remained enormously influential throughout the 19th and into the 20th century. The child like state of innocence is viewed as higher ranking to a condition of adult experience,” (Reynolds). Add to that this child-like state is rather artistically productive.

Perpetual childhood:
However, not everyone saw childhood as a state to be hurried through in order to achieve adulthood. The 19th century saw the development of what is occasionally referred to as the “Cult of Childhood”, with adults delighted to celebrate childhood in texts and images. The connections with the Romantic ideal of childhood are clear, but many writers of the ‘Golden Age’ of children’s literature went further, even expressing a longing themselves to be children once more. But perpetual childhood is impossible, and there is a notable tendency in some of the best-known Victorian fantasies for child characters to die in this world in order to be reborn or to stay children forever elsewhere. The Cult of Childhood persisted into the 20th century, reaching its height in J M Barrie’s Peter Pan (who first appeared in a play of 1904), who famously refused to grow up (Reynolds).

Break in the Romantic Image:
Working-class children were sent to work at an early age with the beginning of the industrial revolution, as it was a common belief that children should contribute to carrying on the industries of their country. This notion was of equal importance as education, urging factory owners to use children to their advantages. For example, using children in coal mines, as they were small enough to fit in the crawl spaces as well as they did not know any better.

Brief Re-account :
On 1 September 1939, German forces invaded Poland, and the Second World War began. Donald Macdonald, then a boy in Winnipeg and later a federal Cabinet minister, remembered huddling around the radio in his grandparents’ living room, listening to the CBC reports of the Nazi invasion. “Even as a seven-year-old I understood that the world had just changed for the worse,” (Canadian Encyclopedia). The six-year-long war brought changes to the world and forever altered Canada. Then a nation of only 11 million people committed more than one million men and women to uniform, (Canada War Museum).

Changes in Children’s Lives:

New Responsibilities:
The adults started to disappear from children’s lives after the war started. Soon male teachers abandoned classrooms for service in the armed forces. “They went from men in civilian dress to uniformed heroes — and sometimes martyrs,” (Canadian Encyclopedia). While fathers and older siblings were away on duty, children were expected to help around the house. Young children were assigned new chores, anything from cooking to cleaning. Mothers entered the workforce in white or blue-collar jobs forcing older siblings to look after the younger ones. Later, young girls, sometimes around the ages of 10 or 12, were employed in positions such as “general housework” or baby sitters. These children were expected to do this as they balanced homework and other duties.
Schools were plastered with posters encouraging students to do their bit. They were taught to avoid careless talk that might aid the enemy and to be on the lookout for spies, specifically Russian. Teachers taught lessons about the war overseas and Canada’s contributions to beating the enemy.

Helping the War Effort
Victory Gardens were encouraged, at school or at home, anywhere a free patch of soil could be found. Children planted seeds and tended to their vegetables. “Every bunch of carrots or canning of jam was portrayed as a blow in battling the Nazis,” (Canadian Encyclopedia).
To further the war efforts recycling was also depicted as essential to the war effort. Paper and metal scraps were gathered in large salvage drives. Canadians were instructed to recycle and reuse. Nothing was to be wasted in the fight.
Babysitting money and allowances went towards purchasing war stamps. The stamps were sold in schools and stores; children purchased each for 25 cents. Sixteen stamps filled up a $4 card, which was sent to the federal government. In return, the child received a War Savings Certificate worth $5, to be cashed in after the war, (Canadian Encyclopedia).

Harsh Realities:Germans, Italians and Japanese
Not all Canadian children were allowed to participate in the war effort. Canadians of German or Italian descent were teased, taunted or assaulted by other children at school and home.The victims sometimes fought back, insisting they were as Canadian as anyone else, but most slunk away to the shadows, not anxious to draw any more attention to their heritage, or firm the stereotypes portrayed in political propaganda.

The war in Europe ended on 8 May 1945, and children were among the millions of Canadians who were swept up in the excitement. Most young people took pride in having done their bit, with their service marked by knitting socks, helping in the home or on the farm, having dirty fingernails from gardening, and collecting mountains of scrap metal for recycling (Canada War Museum).

Early Childhood Literature:
As a result of the Puritan belief much of the earliest children’s literature is concerned with saving children’s souls through instruction and by providing role models for their behaviour, (Reynolds). Children’s literature includes stories, books, magazines, and poems that are enjoyed by children. Modern children’s literature is classified in two ways: genre or the intended age of the reader. The late nineteenth and early twentieth centuries became known as the “Golden Age of Children’s Literature” as this period included the publication of many books acknowledged today as classics (Burke M. Eileen, 108). One of the engineer’s leading towards children’s literature is William Blake. His work in the Songs of Innocence and Experience illustrate and conceptualize the new image of the child that was formed in the romantic period. The content of these poems revolved around purity and the angelic child that falls into experience as they transition into adulthood. Blake’s work was printed in a two part series, the Songs of Innocence and the Songs of Experience. This formatting created a divide in the content that was considered acceptable for children, and what happens after they live and experience. For example, the introduction to the Songs of Innocence illustrates the differences between the boy in the cloud and the piper who is tainted by his experience.

WOW Comics Literature:
As mentioned earlier the second issue of the WOW Comics can be seen a piece of literature that sets examples for children during the war time. With all the changes to their daily routine the children lacked the knowledge on how to accomplish what is expected of them. The ban on the importing of comics from the States allowed Canadian artists and writers to really gear the content towards the expectations of Canadian children in the 40s. The content of the Canadian Whites is specially geared towards the new image of the child surfacing during the war.

For example:

The Science of Wrestling: One side of the page is taken up with visuals of different wrestling holds, and how to successfully do them. On the other side of the page there is a detailed description of the holds, and how to perform the various holds if

Legault, E.T. (w). “The Science of Wrestling.” WOW Comics, no. 2, November, 1941, pp. 31. Canadian Whites Comic Book Collection, 1941-1946. RULA Archives and Special Collections, Ryerson University, Toronto, Canada.

the images were not clear enough. This page is geared towards young boys, or men, training them so they feel confident when enlisting into the army. This page allowed the boys to feel as if they are part

of the movement and learning to fight is giving them a leg up in the fight. They now felt prepared to tackle whatever enemy came into Canada, or when they themselves were fortunate enough to fight overseas.

On the other hand, young girls were taught how to be submissive girls, calm and subdued.

Legault, E.T. (w). “Elaine Kenyon Cut-outs .” WOW Comics, no. 2, November, 1941, pp. 30. Canadian Whites Comic Book Collection, 1941-1946. RULA Archives and Special Collections, Ryerson University, Toronto, Canada.

Elaine Kenyon Cut-outs: On the page there is a female dressed in an undershirt with calve length boots, in red. And there are three dresses, 2 styles of hats and a pair of boots. A young child can cut them out and dress up the doll in various ways, and there will be more outfits in issues to come. Young females were basically told they do not need to learn to fight because the boys already know how, they just need to relax and let the men do the saving. Young girls were employed as babysitters and they were encouraged to garden because that is all they could possibly accomplish.

Super Hero Comic:

Dart Daring and Perils at Sea: Dart Daring, is a youthful, dare-devil, sword fighter and so forth, begins his story in this issue discovers a treasure at an old shipwreck. Dart faces many predators, the octopus, 2 sharks, Captain Ajabe Maruk, who captures Dart and punishes him. Lorraine rescues Dart. Savages take over the ship and Dart must help Ajabe and his crew. Dart and Lorraine jump over board find themselves lost at sea, waiting to be rescued by a passing ship. Dart is an average man, with the skills of an

Legault, E.T. (w). “Dart Daring and Perils at Sea.” WOW Comics, no. 2, November, 1941, pp. 10. Canadian Whites Comic Book Collection, 1941-1946. RULA Archives and Special Collections, Ryerson University, Toronto, Canada.

experienced fighter. He takes on ever challenge thrown at him, whether it be wrestling sharks or seizing a ship all by himself. Dart is the example for what young boys should strive to be; the average man that can be a fighter and warrior. A heroic average man, ready to bravely tackle any enemy.

 

 

 

 

The New Construction of Childhood

According to the Comics

The content of the comics challenges the ideas of the ideal childhood introduced by Blake and other writers in the Romantic period. These comics present themselves as a binary to innocence and experience. The formatting of a comic book is considered equivalent to a picture book, but these comics tackle much greater political themes and questions. The child in the 1940’s was one of great responsibility and knowledge, as well as the duties of the home and contributing to the war. An advantage towards the war effort in whatever way possible.

Works Cited
Benziman, Galia. Narratives of Child Neglect in Romantic and Victorian Culture. United States Of America: Palgrave Macmillan, 2012. Print.

Blake, William. “Songs of Innocence Introduction.” Poetry Foundation. https://www.poetryfoundation.org/poems-and-poets/poems/detail/43667.Accessed 14 Feb.2017 (referenced the poem)

Burke, Eileen M. Early childhood literature: for love of child and book. Boston, Allyn and Bacon, 1986.

“Canada and The Second World War .” Canada War Museum , www.warmuseum.ca/cwm/exhibitions/chrono/1931crisis_e.shtml. Accessed 31 Mar. 2017.

Legault, E.T. (w). WOW Comics, no. 2, November, 1941, pp. 10. Canadian Whites Comic Book Collection, 1941-1946. RULA Archives and Special Collections, Ryerson University, Toronto, Canada.

Reynolds, Kimberly. “Perceptions of Childhood“ WordPress.com. https://www.bl.uk/romantics-and-victorians/articles/perceptions-of-childhood, British Library. Accessed 15 Feb.2017.

Comics for Creativity: Why Comics Should Have a Place in Art and Literary History

2017 Canadian Whites, ENG810-022 Monique Tschofen, Wow, WOW Comics, , , , , ,

Introduction

Many art historians have deemed comics to be amongst the lowest form of art or simply not art at all. However, by turning comics away from the world of high art, literature and academic study, there are many opportunities for learning and creativity that are missed. Through integrating a close reading of WOW Comics issue 3, into a history of why comics aren’t considered art, how comics have similar movements to art history, the hybrid nature of comics and Roy Lichtenstein’s use of comics for creativity, I will raise the question as to why comics aren’t considered art and what opportunities are missed as literary and artistic thinkers by discluding comics from our discourses and serious history.

Comics Aren’t Art – Critics and Art History

In Bart Beaty’s book “Comics versus Art”, Beaty raises a point about Clement Greenberg’s critical approach to comics. Greenberg is a famous modernist art critic and Beaty summarizes his critique of comics by saying that “comics as among the lowest forms of debases and industrialized pseudo-culture” (20). Beaty goes on to explain that similar to many art critics’ problems with new movements in art history, comics are being disregarded in the same way. Beaty highlights that critics see comics as a medium that does not evolve from any practices in art that came priory to it (20-21).

With this understanding of how comics have been perceived throughout art history, Beaty raises an argument towards the way people look at comics as destructive. Rather than seeing comics as literature or art, Beaty argues that comics should be understood as a hybrid art form (21). A hybrid art form, when concerning comics, is the working relationship of images and text that make up the whole of any comic (Witek 34). With understanding that hybrid art forms are created by the merging of multiple different inspirations, ideas and mediums, it makes them extremely hard to categories. It is important to enter the discussion of comics by keeping in mind their hybrid nature. Within the hybrid form that comics present themselves, it is also important to remember that, unlike other forms of high art or literature, comics are printed cheaply and by masses.

However, by keeping the nature of comics in mind their placement in the world of literature and art becomes extremely important. With the marrying of both text and images, comics form the delicate line between the world of visual and literary arts. By focusing on the ideas that are open for expression through the hybrid nature of comics, their less academic appearance becomes irrelevant. Diving into the hybrid nature of comics, the printing process and consumer quality that fills up most of WOW Comics and many other comics coming out of World War One, will become less important. While their value in history, their relationship between visual and literary qualities, and the overall wealth acquired from looking at comics as art will become apparent.

Art and History – World History and Movements Within Comics  

When looking at comics as art, it is important to document that most comics that are being created surrounding a war, WOW Comics included, are almost always focused on the war occurring. With this recurrence of war within comic, a connection can be made between the goals of many famous painters and writers that include war in their works of art. This framework of seeing comics like other works of art, as a way to document history and/or movements in a society, help us to understand their artistic and historic value.

In Sabin Roger’s book Comics, Comix, & Graphic Novels, there is an outline of the movements in comics that occurred to fill a new motif. Here Roger describes action comics and their newly found way of artistic expression: “the name of the game was bold, figurative art with strong colours. In terms of content, the emphasis was again on simplicity: the heroic derring-do found in the pulps was perfect” (57). This shows how a movement within a comic books changes how the artists met new demands in their medium. This happens in action and hero comics, like WOW Comics where there is a demanded to draw more attention onto the hero and their call to action. This shift in relation to motif and visual representation proves that, like many other movements in art history, artist within comics are looking at past ways of dealing with medium and remodeling it to fit the ideas they want to share.

This demand for comic book artists to shape their work to fit the story line of action heroes, is also a challenge that they faced when drawing comics for World War One. Sabin Roger explains that in Britain, the First World War created a new demand for artistic representation within comics. “Artistically speaking, the genre made new demands on comics (54). Invariably, the style would have to be ‘realistic’ in order to carry the story, and this required a new attention to detail”(57). What Rogers speaks to in this quote, is not only the adaptation the comic must undergo to match the subject matter, but the hybrid relationship that all comics carry. The hybrid relationship is the marriage of the realistic images needed to coincide within the new storyline of World War One.

Showing that by understanding the comics’ way of shaping the artists format to match the subject matter and working between the relationship of imagery and subject to convey a coherent message reveals that comics should be recognized in art history.This hybrid relationship of the marriage between a comics media and visual representation is shown

A three panel of Dart fighting with shipmates.
Figure 1. E.T. Legault. Panel from “Dart Daring.” WOW Comics, No. 3, December 1941, p. 9. Bell Features Collection, Library and Archives Canada.

in WOW Comics Issue 3. Shown in figure 1 on page 9 of “Dart Daring’s” action packed fight, the medium is being used to convey meaning. The viewer’s eyes automatically go to the middle panel, where the gutters are being used to draw tension onto to Dart’s relentless fight. This overt feeling of tension being placed on the main character is drawn into full force by the use of medium to convey a message.

The Hybrid – Scout McCloud and the Lines between Art and Comics

While understanding the complex hybrid nature of art, it is important to look into Scott McCloud’s rich understanding of the comic’s place within high art. McCloud explains that movements in art, like Modernism, Expressionism, Dada and Surrealism, made their way into being ‘art’ the same way comics did – by the balance of “appearance and meaning”. While comics have a hybrid balance of words and images, they take on the birth that many  famous works in art history have (144-149). In further relation to the language in art and comics, McCloud expands on the expressionist use of line in relation to comics. McCloud explains that late nineteenth century artists such as Much and Van Gogh, worked with line as a way to express deep meaning, meaning that can also be found in comics (122-125). Although the comics use of line might not be as vibrant as one of Van Gogh’s night skies, it does mean that comics lack expression within their use of line or colour. It might mean that the comic is expressing something more calm and simple.

Dart is draw in a page containing three triangle panels. In panel one, Dart sits shirtless on his boat staring into panel two. In panel two Dart holds onto his lover while staring at the viewer. In panel three Dart holds his lover while knelling before a latter leading to a ship.
Figure 2. E.T. Legault. Panel from “Dart Daring.” WOW Comics, No. 3, December 1941, p. 2. Bell Features Collection, Library and Archives Canada.

This use of line as expression can also be found in WOW Comics Issue 3, when “Dart Daring” is show in a three piece triangular panel in the first section of his spread. Seen in figure 2, this early introduction to Dart is important as it requires the viewer to see him as an important character in their first encounter. Line is used here, like the expressionist, to render tremendous meaning. In its most obvious way the three panels are broken up by harsh lines, placing Dart in an altarpiece of panels. In panel one the reader makes their way from the horizontal lined waves that are forced into corners, arriving at Dart creating a line with his  body, leaning towards the next panel. As he looks onto himself in panel two,  he guides the viewer’s eyes. While the last panel uses line to create literal distance and give Dart, the only rounded figure in the panel, a chance to break free from the daunting lines of the boat and the adventure that lies ahead.

By recognizing how comics use line in a subconscious way, it can become clear how they hold as much meaning in relation to the way famous artist use line.  Continuing with McCloud’s comparison of high art to comics, he explains that “the father of the modern comic in many ways is Rodolphe Topffer” (120),  revealing that his cartooning and use of panel explores a combination of pictures and words. This made him a contributor to the understanding of comics. According to McCloud, Topffer was a master and creator of a form that was “both and neither” text and image (122). All of these recurring ideas that flow between high art and comics should be taken into consideration when understanding that these two art forms function similarly and should be treated as such.

Pop Art – Roy Lichtenstein, High Art and Comics for Creativity

When you combine high art and comics, you get Roy Lichtenstein, “being one of the best known pop artists of the 1960’s to use comics and cartoons as source material for their work” (Greenville 228). In order to understand the comics place in high art and academia, it is vital to understand how Lichtenstein took hold of the medium for an artist message. By diving into Lichtenstein’s goal of using comics in his art, we can come to a conclusion on why we should learn from Lichtenstein and use comics for creativity.

In Bruce Greenville’s book KRAZY! Roy Lichtenstein’s rendering of the comic is presented in full force, by Greenville saying that “Lichtenstein’s genius lay(s) in his ability to grasp the most compelling elements of comic composition and bring them forward for scrutiny”(Greenville 228). This quote acknowledges Lichtenstein’s tribute to comics. He also used comics to his advantage by working with a strong understand of the new visual culture that was emerging at the time. He used a medium as a vessel to express his artistic message (288), as many great artist of the past have. This use of medium in relation to message within high art is an idea that takes place in comics as well. In Rublowsky’s book Pop Art, he highlights Lichtenstein’s interest in comics and their mechanical creator, the separation within the comics that comes from the lack of viewing the artist’s hand (1-2). Here, there is specific definition of what Lichtenstein found so intriguing about comics.  

Continuing with a greater understanding of what Roy Lichtenstein was trying to achieve by using comics as a medium, it becomes clear that we should be following in his footsteps and use comics for our own artistic and literary expression. In Michael Lobel’s book Image Duplicator, there is an explanation of how art historians disapproval of Lichtenstein’s work allows for a deeper insight into the academic use of comics. The explanation states, “I think it is fair to say that art history as a discipline has tended to view realist painting of any period as if they were nothing more than accurate transcriptions of reality outside themselves” (Lobel 14). Lobel expands by using an art historians critic of Liechtenstein to his advantage saying, “I want to treat Fried’s components in much the same way Lichtenstein treated printed images: I will appropriate and strategically reuse them for my own purpose” (Lobel 15). By combining Lichtenstein’s use of comics for an artistic message and Lobel’s tactical way of turning art historians critique of Liechtenstein to fit his project, it is clear that the same should be done with comics. By looking at comics as artistic expression or a vessel in which artists (like Lichtenstein) can be inspired, their space within art history and academic study allows for more opportunities of creativity and learning.   

Conclusion

The evidence that comics belong in academic and creative discourse is overwhelming. The risk in not including this hybrid art form that is comics into the world of art and literary history allows for current gaps to form in creativity and learning. By understanding a critical reading of WOW Comics issue 3, the historical view of comics as ‘false art’, how comics work within movements similar to art history, the hybrid art of comics and the inspiring way in which Roy Lichtenstein’s uses comics for creativity, academic and creative thinkers must be called to re-evaluate comics as valuable components of our past and future history.

Work Cited

Legault, E.T. “Dart Daring”. WOW Comics,Volume 1, No. 3, December 1941, p. 2-9. Canadian Whites Comic Book Collection, 1941-1946. RULA Archives and Special Collections Ryerson University, Toronto, Canada.  

Beaty, Bart. Comics Versus Art . University of Toronto Press, 2012. Toronto, Canada.

Greenville, Bruce,  et al. KRAZY!: The Delirious World of Anime + Comics + Video Games + Art. Vancouver Art Gallery,University of California Press, 2008. Vancouver, B.C.

Lobel, Michael. Image Duplicator: Roy Lichtenstein and the Emergence of Pop Art. Yale University Press, 2002. New Haven.

McCloud, Scott. Understanding Comics: the Invisible Art. Harper Perennial 1994. 1st edition. New York, N.Y.

Rublowsky, John and Ken Heyman. Pop Art. Basic Books, 1965.  New York, N.Y.

Sabin, Roger. Comics, Comix, & Graphic Novels: A History of Comic Art. Phaidon Press Limited, 1996. London.

Witek, Joseph. Comic Books as History: The Narrative Art of Jack Jackson, Art Spiegelman, and Harvey Pekar. University Press of Mississippi, 1989.

Images in this online exhibit are either in the public domain or being used under fair dealing for the purpose of research and are provided solely for the purposes of research, private study, or education.