Category Archives: 2017 Canadian Whites

Manipulation by Media

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

Children are easily manipulated as they are seen as innocent and naive. Children do not have the education to learn what the real reason is behind the madness that occurs every day. Events will happen all over the world and children will not be capable to grasp a proper understanding as to why it is happening. This is solely due to the lack of education on history. A major historic event that had a change in the world, was World War II in 1939. World War II made an impact on everyone all around the world especially in the media, as it was largely impacted. During this time, comics were very popular and they contained many different stories that were targeted towards war. A comic would show an example of how children were not being properly taught about an event. The use of racism, violence, and hatred was incorporated negatively in these comics. In my comic, there was an advertisement for war stamps that involved the illustration of Adolph Hitler. My comic found on page 15 of WOW Comics issue No. 10 (1945). Specifically focused on the aim for children to purchase war stamps. The purchase of war stamps was easier to persuade to children due to their age and young mentality. The sales of war stamps are one of the factors which helped fund the war, for it was important to keep the children engaged in purchasing. Depending on the perspective, this comic advertisement can be interpreted as a deeper meaning. This can be proven through the history presented, the illustrations, the vocabulary used and the dramatic events which unfolded in front of children in World War II.

Children and History: Historic Childhood Novelty

I found that the history of World War II was very effective while looking at this comic advertisement. Without looking into the history one would not be able to prove that children were very under-educated and manipulated. The media was able to target children with the use of comics and toys. Children have been targeted for many years, but it was most prominent during World War II because leaders found them to be more vulnerable (Martin Armstrong, 2014). In comparison to adults, children retain more information because they are continuously developing their own personalities and mentalities (David Machin and Theo Van Leeuwen, 2009). Children were targeted in this comic to purchase war stamps, however, they believed that by doing so they were helping fund the war for their nation. The message that they received was positive, as they were helping their families who were within the battle. At an impressionable age and with the passion to be involved, these children tried to come up with any way to make money. With whatever they earned, they would bring it to their school to purchase War Savings Stamps which they pinned into special booklets for post-war redemption. This created an appealing goal for them, by being able to fill and keep track of their unique stamps! Along with the mixed messages, there was the horrible bribery of the children that I found quite appalling. “Children learned to recycle and collect materials, such as metal, rubber, fat, and grease, which were reused to produce useful products for the war. In return for the children’s labour, different incentives were offered to the children such as free passes to the movies” (Veterans Affairs Canada, 2017). Apart from free movie screenings, children enjoyed playing with different toys in their free time. Toys were made to resemble the war; even today I still see these toys exist. These toys can consist of miniature soldiers, plastic machine guns, replica grenades and the full attire (David Machin and Theo Van Leeuwen, 2009). These toys would intrigue children, in relation to the plastic guns, those are not toys, even if they are plastic. These toys would intrigue a child and become an object of enjoyment, as opposed, to teaching them what their real purpose is, which is to injure and kill people. What I immediately thought was how boys-not girls because there was more sexism towards girls if they were caught wanting to play with these war toys; this could resemble their family that was out fighting for their lives. Young boys want to be able to follow in their parent’s footsteps, usually their fathers, which would make these toys more appealing. Further, into the research, it brought me to an article based on a true story made into a comic, about a young girl named  Hansi who loved the Swastika symbol (Figure 2).

This is something I found to be extremely inappropriate for a child to love. The Swastika symbol is the official emblem of the Nazi party and a symbol that holds a meaning of hatred. The Hansi comic book was part of a series of biographies of famous Christians in the 1970s. The Christian comic book was based on the autobiography of Maria Anne Hirschmann, who lived through World War II as a victim of the Germans propaganda (Comic Alliance Staff, 2010). She was an avid believer in the Bible, but then found herself intrigued and interested in the swastika.It was concerning as it is found unusual of such difference in an interest into something which negatively impacted the world. Further with age, she then returned back to her Christian faith.It was obvious the moral behind this comic, as it is showing you that your faith will always be there for you even when you do not realize it. By looking back on the history of World War II, I am able to further prove the point that children did not receive the proper education. If they had, these children would not want to resemble the toys they played with to war, misunderstand comics for wanting to help with the war and have a young girl who loved the swastika.

 

Illustration: Visual Stimulation 

I further my research on my topic by looking into the illustrations displayed in my comic advertisement. This comic I found was unique in the use of illustration, especially when looking at Hitler’s expression while he is saluting. The facial reaction displayed on Adolph Hitler plays a large part in the advertisement (Figure 3). Looking at his face is unsettling, we are not exactly sure how Hitler is feeling. Hitler looks disappointed when he is giving authority by saluting yet, he is not exactly proud of himself. He also looks guilty. When we see realistic photographs of Hitler, his face is usually flat and he has no emotion shown on his face. However, this comic shows him looking vulnerable and upset. This I find has a major effect on children because it will have the emotional grab; he does not look happy with what he is doing so why would someone else want to follow in his footsteps? It is also seen Hitler holding a swastika in his hand. My findings concluded that the swastika connected with the story of the young girl who loved the swastika symbol. This adds to the fact that children were easily manipulated through illustrations; most likely finding the symbol appealing because they would not understand the meaning behind it. Looking further into the illustration we can take notice of a solider showing force against Hitler. This I found portrayed violence, which should not be portrayed to young children. I think children should see that violence is not something that we approve, yet, this comic is showing our soldiers being violent towards one of the most notorious people in history. It is quite a contradicting illustration when discussing the impact of illustrations affecting children. Although they are young, this is the time their minds start to process information and remember things that they see such as the illustration in this comic. A child finds illustrations more appealing than vocabulary. However, in order for comics to be appealing to the young crowd, the illustrators had to use images rather than vocabulary to catch the individuals eye and have a reminding effect.

Vocabulary: Cunning Persuasion 

Lastly, a strong form of manipulation used throughout this comic is the vocabulary. There are two words that stand out to myself and those words are “heed” and “breed”. Heed is a word that expresses obedience, but also indicates a warning in this comic. Once defining this term and delving deeper into the meaning of it, I realized you have to pay attention to small details in the comic. I looked carefully at this and realized the word heed is used in an intentional way. I needed to focus on the main idea in this comic, which is Hitler. I paid more attention to him after this because what he did throughout his life was not right. His “breed,” aka the Germans, though they were doing good, but when we actually pay attention to the reality of it all, we know that Hitler was trying to create racial purity. In my article, the communicating text starts with: “A jerk called Adolph” which indicates that they are trying to keep an appropriate word for children instead of using a  vulgar term (Figure 4).

This portrays to the child that the term “jerk” would be a bad word, but not too bad as to reveal Hitler. In the verse following, “was once a kid” this removes Hitler’s scary nature, allowing children to feel somewhat empathetic. Thus, thinking that he was once like them being weak and vulnerable. Also, without caution to children of Hitler’s true nature, they might desire to be like him one day. Following that in the text, “But, when he grew up  just look what he did!” It is implying that the reader would know “what he did” and assumes they would share the same assessment as the comic author. Furthermore, the text says: “Now you” which is speaking directly to the reader of the comic. Also, reverting back to words spoke earlier which were: “can help destroy his breed,” which refers to Hitler’s mission which was to destroy the Jewish people. The ‘you’ in this ad is aimed at its readers to destroy Hitler’s breed. Hitler is known for his wanting to destroy the Jewish. There is a fine line between us attacking Hitler like, he is attacking the Jewish, it is displayed in this ad that we need to destroy his “breed” which does not equal justice. The comic displays Germans as a “breed,” just like animals, they are just something to be killed off as if they do not have to mean. We should not intend to equal the violence, we should show children that we want peace. Lastly, is the quote:  “if these words you will but heed… Buy War Stamps!” This is now trying to persuade its reader into thinking that they must buy these war stamps. The vocabulary in this comic advertisement was very particular, they added the persuasion, the double meaning and the second person perspective (WOW Comic, 1949).

In conclusion, I prove that the media has a large effect on children who lived through World War II. This was shown with the use of the historical information gathered through research of war stamps, as children paid and collected these stamps to help fund the war. The stamps were particularly advertised to children, as they were easy to persuade due to their age and passion for involvement. Secondly, toys which represented different war items allowed a child to have an imagination and feel like their mothers and fathers, who of which did their part to help the war. The true story of Hansi, allows us to understand the meaningful power of the swastika and that person’s faith will always follow them. Moreover, by looking at the illustration displayed in the comic, Hitlers image and expression is evident in showing a negative perspective. As well as, the vocabulary used, which allowed us to see many different aspects being persuasion, double meaning and the perspectives directed. Overall, comics had a lot of impacts, not only on the innocent young boys and girls but also in the aspect of how it portrayed media throughout the event of World War II.

Work Cited

Comic Alliance Staff “Comic Art Propaganda Explored: ‘Hansi The Girl Who Loved the Swastika’.” ComicsAlliance, 17 July 2010, comicsalliance.com/comic-art-propaganda-explored-hansi-the-girl-who-loved-the-swa/

Canada, Veterans Affairs. “Canadian Youth – Growing up in Wartime.” Veterans Affairs Canada, Government of Canada, 24 Mar. 2017, www.veterans.gc.ca/eng/remembrance/history/historical-sheets/youth.

David Machin, Theo Van Leeuwen. “Toys as discourse: children’s war toys and the war on terror.” Toys as discourse: Children’s war toys and the war on terror | Critical Discourse Studies Vol. 6, No.1, February 2009, 51-63

Martin Armstrong. “Propaganda & Children – Always the First Target of Leaders.” Propaganda & Children – Always the First Target of Leaders | Armstrong Economics, www.armstrongeconomics.com/uncategorized/propaganda-children-always-the-first-target-of-leaders/.

Stacy Gillis, Emma Short. “Children’s experiences of World War One.” The British Library, The British Library, 20 Jan. 2014, www.bl.uk/world-war-one/articles/childrens-experiences-of-world-war-one.

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.

Morale in “Wow Comics no. 17”

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

Introduction

The Second World War brought many changes to the lives of Canadian children. With fathers and brothers being deployed in the battle overseas, mothers suddenly joining the work force, shortages of food, rations, and talk of Nazi spies and Japanese invasion, the echoes of war were ubiquitous in the lives of children (Cook). Undoubtedly troubling for them, one of the only offers of escape for children was comic books. Enter the “Canadian Whites”: a series of comic books created by Canadian publishing companies that filled the void left by the removal of the American popular media when the King administration passed the War Exchange Conservation Act (WECA) (Bell). The “Whites” lifespan was short, but nonetheless, their run fulfilled a significant role in the lives of Canadian children.

In this article, I will examine issue no. 17 of Wow Comics (a member of the “Whites” family), in particular the narratives that focus on themes of war and violence, and how those narratives quite paradoxically supply readers with a more optimistic outlook on the war they were living through. By selling children a world of clear-cut narratives to situate themselves in, where good and evil were easily distinguished, the heroes always won, and life at home was never shown as being in danger, Wow Comics perhaps served as a means of upholding morale in their lives.

Defining Morale

For the purposes of this article, I will be using the term “morale” as a measure of optimism held by Canadian children about the war. Advertisements, propaganda, and other products of pop culture (including comics) that work to improve or positively shape consumer’s outlook on the war effort can be seen as upholding morale. Additionally, anything that helped kids to orient themselves in the confusion of wartime, or provide some sense of comfort and security can also be seen as upholding morale.

Context of Consumer Culture

Figure 1. Government issued propaganda used Hitler’s image to discourage spending. H. V. Shaw (a). “Save to beat the devil,” from “Canada at War Forums”, Canada at War, Jan 2010.

When accessed digitally, there is a tendency to forget that artifacts of history belonged to a broader sociocultural context. We must then keep in mind that Wow Comics was not only a product of a consumerist culture, but highly successful ones. During the war, there was a tension between the government’s “anti-spending” propaganda campaign, and the companies that naturally wanted to keep up consumption. Businesses, to protect their success, had to be tactical about their approach to advertising. As Graham Broad puts it in his book A Small Price To Pay, advertisers’ initial response to the war was to maintain a “business as usual approach” (50). However, as the government continued developing their propaganda to align spending with treason (e.g. using Hitler’s image in anti-spending campaigns as seen in Figure 1), advertisers shifted tactics to attaching social significance to their products (Broad 61). To accomplish this, advertisers started constructing the purchase of every commodity as being useful to the war effort (77). In doing so, advertisers inverted the government’s “serve by saving” ideology into a “serve by spending” call to action. As a result, advertisers made consumerism a mode of participation in the war effort, and boosted morale in the lives of Canadians by giving them the sensation that their spending was in some way helping to win the war.

Commodifying the War

Figure 2. Toy gun advertisement. Wow Comics, no. 17, 1943, Bell Features Publishing, pp. 57.

Wow Comics fits into the consumer climate in a similar way: by working both as a source of morale and a piece of propaganda. Two advertisements in the back of Wow Comics no. 17 that promote toy guns to its readers serve as an illuminating example. The advertisements invite children to role-play as soldiers with models guns that are “Just like the real thing!” (Wow Comics 57). Margaret Higonnet, doing research on military themes in children’s culture, argues that toys can be used to domesticate war, “[granting] distance and [permitting] us to claim mastery” (“War Toys” 119-120), and we can see such a process taking place here. Purchasing these toy guns would allow children to recreate the battles they hear about in school and read about in these comics, relocating the war into an imaginary space where they have control. In other words, children can use these toy guns to imagine themselves as brave heroes of war. Since we know that toys are often employed by children to help them navigate through uncertain times (“War Toys” 118), this reconfiguration of war allows children to feel better equipped to deal with the changes wartime brought into their lives, and thereby boost morale. The advertisements also work as propaganda, as they encourage children in their play to embody soldiers fighting on the “good side” (i.e. the Canadian military) against evil (i.e. enemies of Canada, Nazis). Rehearsal of war, especially as it is informed by the advertisements and themes found in Wow Comics serves to reproduce the ideological binary of good vs. evil and solidifies the justification of the Canadian war effort.

“Hair-Raising Features”

While several of Wow Comics no. 17’s stories are based in the military genre, its representations of war are quite distant from the realities. The front cover of the lets readers know it is filled with action. The cover depicts a German U-Boat being blown up, complete with enemy bodies flung airborne, and crashing waves. In the bottom left corner is a text box that reads “‘The Penguin Strikes’ Plus 5 Other Hair-Raising Features,” advertising that at least six of the contained stories are action packed. Higonnet argues, “One of the paradoxes of war, as it is represented in children’s books, is that battle becomes distilled as individual combat” (2). Her theory applies here: while some of the comic’s stories are situated directly in the war effort, there is never a battlefield full of soldiers or towns under siege. Instead, comics like “The Penguin” take place on a nondescript coastline, with a single protagonist going up against a single German villain, “the Luger” (Wow Comics 3). Similarly, “Whiz Wallace” takes place in India, and has a battle between the protagonists and the villainous “Spymaster” and his henchmen (Wow Comics 19). The comics’ representations of war take place in contained (and due the lack of specificity in location, almost secret) places, where the violence does not reach innocent lives. Such representations reduce war to a singular heroic man seeking out and infallibly beating up singular villains without causing any auxiliary destruction. However, the reality war is far more complex, violent, and senseless than that heroic process. As a scholar on the “White”, Ivan Kocmarek, remarks that the “Canada Whites” were likely one of the only sources of information about the war for children (156), and this representation could therefore be interpreted as a realistic depiction for young readers. Appearing so controlled and one-sided, the war might have then appeared less scary for kids, as it upheld morale about the likelihood of Allied success.

Have no fear!: Heroism in the “Whites”

The cast of heroes in Wow Comics no. 17 is not what one would expect compared to classic comic heroes such as Superman. Instead of supernatural powers, the Canadian heroes used cunning, detective skills, some weapons, and their fists to dole out justice. They are not superheroes, but vigilantes, spies, and adventurers who fought for good and exhibited bravura in the face of evil. “The Penguin,” shows a lone hero in a penguin mask foiling a Nazi plot to bomb the Canadian coast without ever coming face-to-face with the enemy, merely outsmarting them by placing one of their own bombs in the U-Boat’s periscope (Dingle 5). Beyond the immediate threat of a bombing, the deadly weapon is aptly named the “demoralizer bomb” (Wow Comics 3). The Penguin is therefore not just protecting physical bodies, but also the collective spirit of Canadians, pointing to the importance of morale during wartime. Similarly, the comic “Guy Powers: Secret Agent” shows a Canadian detective uncovering a Nazi sabotage scheme in a Canadian factory. In the end, the hero expertly punches out the Nazi spy when he tries to pull a gun on him after being found out. What this common theme of self-defence reveals is a uniquely Canadian approach to the war where violence is used as a means of defence, as opposed to an all-out offensive means to victory. While these tales openly confess that the home front is always a vulnerable target, they also remind young readers that there will always be heroes that will stop the infiltrating evil before it can cause harm, further providing them with comfort, and maintaining the good vs. evil binary that justifies the war effort.

Heroism outside the war

Several of Wow Comics no. 17’s “Hair-Raising Features” take place in a setting outside of WWII. Regardless, they still keep up morale in a similar way to their militaristic counterparts by continuing to reinforce the hero vs. villain binary. As an example, in the comic “The Phantom Rider,” a vigilante hero (The Phantom Rider) rides through the Wild West seeking vengeance against the gun-wielding bandits that killed his father. On his quest, he finds the criminals, but realizes they are planning on stealing a herd of cattle from a local town. The Rider then proceeds to trap the criminals and turn them over to the authorities, saving the day. This comic reinforces the idea that justice is achieved by a clearly good hero fighting against clearly bad villains. When the sheriff says “He never breaks his word, always helps the one in need,” (Wow Comics 35) readers are further reminded that this story is an example of the Rider’s time-proven process.  The echoing heroism in the comics that exist outside of the war continue to remind the reader that there are good people who protect the innocent from evil.

Constructing villains

Figure 3. Panel from “Whiz Wallace” showing the Spymaster. Wow Comics, no. 17, 1943, Bell Features Publishing, pp. 21.

Although the Axis powers were generally understood as evil, the brevity of the comic’s stories required their visual representations of evil to be done efficiently. To do this, illustrators of the “Canadian Whites” tended to rely on stereotypical depictions of Canada’s enemies to communicate not only villainy, but also race and nationality.  Perhaps the most striking example of this is Thomson’s design of the Japanese villain “The Spymaster” in “Whiz Wallace.” The Spymaster is bald, fat, has slanted eyes, and a fu manchu (Figure 4). Although skin tone is absent in the black and white comics, he is described by one of the white protagonists as a “yellow beast” (Wow Comics 22).  Additionally, he possesses a magic that allows him to control the minds of men, and is described as being “mysterious” (Wow Comics 17), ascribing to him a sort of mysticism frequently linked to Asiatic peoples. The combination of both these visual and textual elements construct a portrait of the enemy that is immediately distinguishable to both the protagonists and the readers. This representation shows the “bad guys” as being easy to identify, and in turn, makes them easy for the heroes to find and stop. Children reading these comics might then feel more confident in the understood heroic process when it is demonstrated as being so streamlined and a simple matter of finding the stereotypical villain and swiftly putting a stop to them.

Moreover, German villains were constructed in a similar way to the Japanese: by drawing on stereotypes. The Luger in Dingle’s “The Penguin” is the perfectly designed villain: square jaw, bald, scar located on his head, devilish smirk, and even a monocle. In addition to drawing on the familiar white villain tropes, the German accent is transcribed in the dialogue to reify the connection to German nationality (as if the U-Boat and Nazi flag were not enough). “What is the hold-up” thus becomes “Vat iss der hold-up” (Wow Comics 5). Villains, then, can be recognized not only through visual signals, but also aural ones.

 Conclusion

For the price of 10 cents, Wow Comics offered children worlds parallel to their lived realities where war was not as scary as it seemed. In line with the trends of the era’s consumer culture, Bell Features was successful in turning its products into commodities with social significance in a wartime context. Within these comics, war is reduced to a game of cat and mouse where the hero hunts down and inevitably stops the villain from doing harm. Giving children a more simplistic perspective of war, a complex adult phenomenon, perhaps helped them to feel less afraid during a time of great fear and uncertainty, or at least have a stronger faith in the success of the soldiers fighting for them. Additionally, through advertising, these comics invited children to recreate these war narratives in a way that made them feel in control of their situation. Amid the sea change the Second World War brought to the lives of Canadian children, the Wow Comics fulfilled the important duty of keeping up their morale and fending off fear.

Works Cited

Bell, J., & Viau, M. “Canadian Golden Age of Comics” from “Beyond the Funnies,” Jun. 2002, Library and Archives Canada. https://www.collectionscanada.gc.ca/comics/027002-8300-e.html

Broad, G. A Small Price to Pay: Consumer Culture on the Canadian Home Front, 1939-45. UBC Press, 2013, Vancouver, Canada.

Cook, T. “Canadian Children and the Second World War,” The Canadian Encyclopedia, Apr. 2016. http://www.thecanadianencyclopedia.ca/en/article/canadian-children-and-wwii/

Higonnet, M. “War Games.” The Lion and the Unicorn, vol. 22, issue 1, John Hopkins University Press, 1998, Brooklyn, United States.

—. “War Toys: Breaking and Remaking in Great War Narratives.” The Lion and the Unicorn, vol. 31, issue 2, John Hopkins University Press, 2007, Baltimore, United States.

Kocmarek, I. “Truth, Justice, and the Canadian Way: The War-Time Comics of Bell Features Publications.” Canadian Review of Comparative Literature, vol 43, issue 1, 2016, Canada.

Shaw, H. V. (a). “Save to beat the devil,” from “Canada at War Forums”, Canada at War, Jan. 2010. http://www.canadaatwar.ca/forums/showthread.php?t=2486

Wow Comics, no. 17, Oct. 1943, Bell Features Publishing. Canadian Whites Comic Book Collection, 1941-1946. RULA Archives and Special Collections, Ryerson University, Toronto, Canada. http://data2.collectionscanada.gc.ca/e/e447/e011166679.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.

Triumph Comics No. 23

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

Encouraging the Militarization of Scientific Advancement in Triumph Comics No. 23

© Gabriela Will 2017, Ryerson University

INTRODUCTION

World War II had a monumental affect on Canada’s advancement as a country, most notably on the cultural and scientific fronts. Culturally, Canada developed a strong sense of identity, as seen through the advent of the Canadian Whites: a series of comics made in Canada, targeting Canadians, and propagating Canadian imagery and values. The comic also depicts the rapid technological advancement rampant through the war years. In Triumph comics: No. 23, this is manifested through the repeated images of weapons in all sorts of contexts and across genres, including westerns, noir, superhero, and joke comics. These comics do not provide a historical lens to observe the period, so much as a mirror, reflecting back to the Canadian population the values and needs of the country, including the persistent emphasis on the invention and manufacturing of weapons technology. The importance of these advancements are reinforced throughout the comic in the form of acknowledgement and praise of the home front’s contributions, generating interest in the sciences, and instilling nationalism, with the intent of encouraging their reader’s eventual contribution. The prevalence of guns throughout the comic also contributes to the underlying theme of justice threaded throughout, suggesting further complexity to the comic’s aims, including constructing a new understanding of ethics during war time.

MEDIA AS PROPAGANDA

Like most forms of media during the time, Triumph No. 23 takes advantage of its reach and readership in order to encourage a pro-war nationalism among Canadians. It’s specific audience, as strictly Canadians, allowed for an outpouring of “nationalistic material” that was never previously possible in a comic subculture that was entirely subsidized by other countries (Foster). Beginning with the invention of the printing press, which lead to large-scale spreading of ideas and ideals, most subsequent mass produced texts served as avenues for social and political messages (Valentine 124-125). This is only amplified in war time, when writers were being pressured by many different industries to contribute to the war effort through subtle indoctrination of their readers.

The newspapers – which many comic authors are indebted to as the inaugural platform of comic strips – printed articles informing Canadian authors of their duty to portray Canada’s “proud and honourable past” in order to show the “heroic youth-and those who stay at home-what they are fighting for” (“Important”). Some comics even included “laudatory endorsements from Canadian cabinet ministers” who were trying to perpetuate an agenda of their own (Kocmarek 37). With a printing of around 500,000 copies of comics in any particular month (a number almost tripled by the known practice of circulating a single comic through multiple sets of hands), the messages contained within the pages reached a huge and often impressionable audience (Kocmarek). The effectiveness of the infiltration of the comics’ content into the Canadian consciousness is evident through the implementation of “active clubs” and other initiatives suggested by the comics that were successfully actualized throughout the population, amassing an impressive number members (Bell 156-160). By the mid-war period it was clear that the Canadian Whites had substantial influence over their large and varied readership, bringing the content “in the pages of [the comics into] the real world” (Bell 37).

INVENTION OF WEAPONS

Comics originated in the pages of newspapers, where they were “the most frequently read part … by children, and the second most [frequently read] by adolescents” (Foster). This familial relationship becomes important when analyzing the messages of the newspapers of the era, and how the news and events the authors read influenced the content of the comics they created. One such article from the Hamilton Spectator, 1942, talks about the scientific instruments that were being created in Canada including “radio-locators” and “navigation instruments”, which were at the forefront of the scientific boom (“Secret”). The added intrigue of ‘secret’ devices was used to increase interest and prestige among the readers of the newspaper, and may have influenced one particular writer, Adrian Dingle, in his comic “Nelvana”.

Fig. 1. Adrian Dingle; last frame of “Nelvana” Triumph Comics No. 23, Bell Features Publishing, Nov/Dec 1944. RULA Archives and Special Collections, Ryerson University, Toronto, Canada.

In this comic, Nelvana is trying to secure the “precious plans” for the secret “ice-beam,” an invention she and her Canadian companions are trying to keep out of the hands of the axis-agents (Dingle 1). This weapon is fantastical, yet not totally unrealistic, and may have been representative of some of the “secret devices” that weren’t talked about, but were nevertheless floating around in the consciousness of the Canadian population (“Secret”). By recycling the ideas and themes permeating the newspapers within his comic, Dingle emphasizes the importance of new scientific invention in helping the war effort. Indeed, it is the ice-beam invention that eventually defeats the Nazi “Roboms” in “Nelvana,” as told through a newspaper heading in the last frame of the comic (Dingle 7, Fig. 1). This full circle effect found in “Nelvana” – from authors reading newspapers, to creating their comics based on what they read, to portraying newspapers in their comics that share the same messages – reflects the life Canadian readers back to them in a more dramatic, elevated, purposeful way. Keeping the population attuned to the needs and realities of the situation on the home front permeates through every level of authoritative texts.

HOMEFRONT MANUFACTURING

The war brought an onset of technological advancements to the Canadian home front, specifically in regards to the manufacturing of weapons and transportation of supplies. Canada’s reputation as a country with a “virtually nonexistent” capacity for scientific or industrial development changed rapidly with the desire to be seen as self sufficient and separate from Britain’s influence (Avery 14). Therefore, Canada began their own endeavours into “radar, explosives, proximity fuses, and chemical and biological warfare,” as well as massive manufacturing projects in areas of transportation, such as the Corvette ships (Avery 25). However, the manpower needed to manufacture all these weapons was usually at a deficit (Avery). Many forms of media set their sights on improving this ratio through sending messages containing positive reinforcement to boost morale, nationalism, and the incentive for everyday Canadians back home to participate in manufacturing efforts. The first frame of the comic “Barnacle Bull” shows him on a Corvette: a ship built in Canada and used by the Royal Canadian Navy during World War II (Brunt 41, “Corvette”). These minute details threaded throughout the comics help instil a sense of pride on both a personal level for those have first hand experience with the ship, but also on a national level, wherein every Canadian can feel a sense of pride for their country’s accomplishments.

This covert propaganda tactic was seen throughout the media of the day, including a radio broadcast from 1942. Using testimony from Canadian’s on active duty stationed across the fronts, the speakers repeat the same message of thanks and appreciation to the home front for all the “new equipment [and] new weapons” (Messages). They emphasize how much it means that it “comes from Canada”, their home, and how “the people on the front [are] every it as important as any other” (Messages). Almost every person says “keep up the good work Canada,” and there is strong sense, especially in some of the stuttering, that the soldiers are following a script provided to them (Messages). This same persuasive elements of testimony and ‘glittering generalities’ are found both in “Barnacle Bull” (more discretely), as well as overtly in the radio broadcast. Both mediums use praise as means to make the Canadian home front feel more directly connected to the cause at large, creating a greater feeling of nationalism and desire to participate.

ENCOURAGEMENT OF SCIENTIFIC ADVANCEMENT

The manufacturing of weapons was not the only source of contribution that was lacking on the home front; the Canadian government and universities were also in need of educated youth to participate in the scientific invention stage of weapon making. The government tried to achieve this through “mobiliz[ing] Canadian universities for war” by allocating the majority of their resources on achieving this goal (Avery 42). Their two main goals were “developing new weapons” and recruiting students to “continue their studies in all branches of science, especially along the lines required to met national requirements as they develop[ed]” (Avery 83, 43).

The pages of Triumph Comics No. 23 are saturated with recurring depictions of weapons in many different forms. In the comic “Speed Savage,” the technical, scientific jargon alludes to the complexities of scientific advancement at the time. The evil mastermind’s “fluid of life giving cosmic energy” used to bring a statue to life was only possible because of his “years of study and research,” much like the career trajectory required of actual scientists (Steele 26). This story is also reminiscent of Frederick Banting’s career high, a Canadian scientist who’s lifesaving injection of insulin only a decade before was hugely celebrated and still fresh in the consciousness of the Canadian population around the time of World War II, when he again enlisted as a pathologist in the Canadian Medical Corps (Hume 128). Thus, a comic which prophecizes the possibilities of scientific advancement while alluding to Canada’s past scientific successes can be seen as a form of subtle propaganda aimed at instilling a sense of scientific curiosity and interest in young readers.

Fig. 2. Harry Brunt. Title of “Professor Punk.” Triumph Comics No. 23, Bell Features Publishing, Nov/Dec 1944. RULA Archives and Special Collections, Ryerson University, Toronto, Canada.

The connection between the necessity for a higher education in the advancement of weaponry is even more blatant in the comic “Professor Punk” (Fig. 2). As pointed to in the title, the main character is irrefutably associated with a university through his title of “Professor,” as well as the graduation cap he wears (Brunt 8). He uses scientific laws, such as deferring to the light of the “the deadly German V-2 rocket bombs” to track them, as they “travel faster than [the speed of] sound, so they strike before they can be heard” (Brunt 8). To defeat the bombs, he uses moles, who dig into the ground in order to avoid the light of the oncoming bombs, incidentally creating big craters for them to fall into and rendering them harmless. Even though this invention seems ridiculous, it was actually not far off some of the real suggestions put forth by actual scientists, such as “freez[ing] the clouds and mount[ing] guns on them,” or building a “bridge from Newfoundland to England” for the troops to cross over (Avery 50).

Pairing images of defensive weaponry advancement with symbols of university education not only emphasizes the necessary relationship between these two undertakings, it also suggests a relationship between publishing and university institutions. Both institutions, based in Toronto, received direct (in the form of monetary endorsement in the case of the University of Toronto) and indirect pressure from the government to aid in the recruitment of people in the war effort, especially needed in the scientific realm (Avery). Thus, the seeming collaboration of the two in the comic “Professor Punk” is not a surprising result of succumbing to these external pressures.

REINFORCING WARTIME MORALITY

The repetition of representations of weapons throughout the whole comic, specifically bombs and guns, trivializes violence and perpetuates a war time view of justice. Guns are used with a sort of reverence to their power, drawn by heroes with words like, “I’ll split you wide open,” “lead for the artist,” and “Speed’s gun is out of its holder and spitting death” (Steele 28, 30). These phrases, accompanied by flashy visuals, romanticize the act of killing another person, but only once they have been sufficiently villainized. The emphasis of a self vs. other dichotomy throughout the comic exemplifies a moral reasoning that justifies killing the enemy as long as it is the interest of the greater good. For example, in “The Voice of Justice” the detective is allowed to lie to the public in order to catch the murderer, in “Capt. Wonder,” children are absolved of their guilt to protect their innocence, and in “Ace Barton” people can be killed outright if they are an enemy or traitor (Alexanian, Saakel “Capt,” Saakel “Ace”). This type of morality has undertones of propaganda because it demonizes the enemy for the purpose of making the audience more united and, in the case of a war-time country, more nationalistic.

Scientists working on war weapons already had ethical concerns that were only amplified by the continued immensity of destruction that could be achieved now that “modern science had intensified the savagery of war” (Avery 39). Already in the first World War the invention of chemical warfare was being questioned on ethical grounds, and in World War II, with nuclear weaponry on the horizon, ethical concerns only increased. Scientists are being implicated in the ethical problems of a war they don’t necessarily support through their participation in creating the weapons being fought with. Therefore, those scientists “who contribute directly to that war will … be acting immorality” through their role in the death of thousands of young kids “due in no small part to their ‘ingenuity’” (Blue 20). This creates conflict between the advancement of scientific technologies and their implications on the war-front, where they employed the full extent their destructive power (Blue 89).

Clearly, the unethical attitudes portrayed in Triumph No. 23 do not align with the morality of Canadian scientists. This solidifies the content in the comic as propagandistic rather than realistic. Attempting to show a representation of justice that diminishes the act of killing the enemy would be more beneficial to Canada’s aim of recruiting scientists for war purposes rather than showing the result of their inventions in the form of thousands of dead youth. By advertising a new type of war-time morality that quantifies the killing of villains, traitors, and enemies, Triumph Comics partakes in an undeniable form of flag waving propaganda technique that “justif[ies] an action based on the undue connection to nationalism or patriotism or benefit for an idea, group or country” (“Flag-Waving”). Thus, with the comic’s reach as a media influence throughout the Canadian population already established, the assumption of the Canadian Whites as neutral media can be confidently refuted.

CONCLUSION

Triumph Comics No. 23 was a product of it’s time, informed by the context in which it was written and becoming part of the Canadian consciousness, infiltrating the minds of the Canadian population with the overt and covert messages about the war it carried. While the Canadian Whites dissipated with the termination of the war and the WARSAW pact, reading them reveals magnitudes about what life was like on the home front. The comic’s creators’ attempt to encourage their readers in certain directions, such as using persistent imagery of weapons to instil a curiosity in the sciences of weapons technology with the intent of motivating Canadians to participate in the invention, manufacturing, and advancement of these weapons. The theme of justice threaded throughout Triumph No. 23 in the form of demonizing the enemy in a self/other dichotomy absolves Canadians of any guilt attributed to helping create weapons used for murder, fulfilling the authors’ prescribed obligations to propagate a war-time morality within the Canadian population.

Works Cited

  • Alexanian, Aram. “Voice of Justice.” Triumph Comics no. 23, Bell Features and Publishing Company Limited, Nov/Dec. 1944, pp. 50-56. RULA Archives and Special Collections, Ryerson University, Toronto, Canada.
  • Avery, Donald. The Science of War: Canadian Scientists and Allied Military Technology during the Second World War. University of Toronto Press, 1998, Scholars Portal Books. https://ryerson.summon.serialssolutions.com/#!/search?bookMark=ePnHCXMw42JgAfZbU5khZ9tYAFsjoANAjDlg4x6gIX1gmuJkEAKGgwK0mFfIT1MoTwTWAgpuriHOHrrQ5mY8dAgjPskQ1JEB1mXGRCgBAF14I60
  • Bell, John. “3 Smashing the Axis: Canada’s Golden Age of Comics, 1941-1946.” Invaders from the North: How Canada Conquered the Comic Book Universe. Dundurn Nov. 11, 2006. pp. 30-43. ProQuest Ebook Central. https://ebookcentral-proquest-com.ezproxy.lib.ryerson.ca/lib/ryerson/reader.action?docID=611683&ppg=23.
  • Blue, Ethan, et al. Engineering and War: Militarism, Ethics, Institutions, Alternatives. Vol. 20, Morgan and Claypool, 2014. Scholars Portal Books. http://books1.scholarsportal.info.ezproxy.lib.ryerson.ca/viewdoc.html?id=641253&page=34.
  • Brunt, Harry. “Barnacle Bull.” Triumph Comics no. 23, Bell Features and Publishing Company Limited, Nov/Dec. 1944, pp. 41. RULA Archives and Special Collections, Ryerson University, Toronto, Canada.
  • Brunt, Harry. “Professor Punk.” Triumph Comics no. 23, Bell Features and Publishing Company Limited, Nov/Dec. 1944, pp. 8-10. RULA Archives and Special Collections, Ryerson University, Toronto, Canada.
  • “Corvette.” Wikipedia, Wikimedia Foundation, 11 Nov. 2017, en.wikipedia.org/wiki/Corvette.
  • Dingle, Adrian. “Nelvana of the Norther Lights and the Ice-Beam.” Triumph Comics no. 23, Bell Features and Publishing Company Limited, Nov/Dec. 1944, pp. 1-7. RULA Archives and Special Collections, Ryerson University, Toronto, Canada.
  • “Flag-Waving.” Wikipedia, Wikimedia Foundation, 29 Aug. 2017, en.wikipedia.org/wiki/Flag-waving. (last edited 11 October 2016)
  • Foster, John. “Comic Books – Oxford Reference.” The Oxford Encyclopedia of Children’s Literature, Edited by Jack Zipes, 2006. http://www.oxfordreference.com/view/10.1093/acref/9780195146561.001.0001/acref-9780195146561-e-0697.
  • Hume, Stephen Eaton. Frederick Banting: hero, healer, artist. vol. 12, XYZ Publishing, 2001. Scholars Portal Books. http://books1.scholarsportal.info.ezproxy.lib.ryerson.ca/viewdoc.html?id=372881#tabview=tab0
  • “Important Task Facing Writers of the Country.” The Hamilton Spectator, 24 Aug. 1940. Democracy at War: Canadian Newspapers and the Second World War, WarMuseum. http://www.warmuseum.ca/cwm/exhibitions/newspapers/canadawar /munitions_e.shtml
  • Kocmarek, Ivan. “Truth, Justice, and the Canadian Way: The War-Time Comics of Bell Features Publications.” Canadian Review of Comparative Literature / Revue Canadienne de Littérature Comparée, vol. 43, no. 1, Mar. 2016, pp. 148–65. Project MUSE, doi:10.1353/crc.2016.0008.
  • “Messages to the Home Front in 1942” A soldier’s War, 1939-1945. 30 Nov. 1942, CBC Archives. http://www.cbc.ca/archives/entry/second-world-war-messages-to-the-home-front.
  • Saakel, Ross. “Ace Barton.” Triumph Comics no. 23, Bell Features and Publishing Company Limited, Nov/Dec. 1944, pp. 43-48. RULA Archives and Special Collections, Ryerson University, Toronto, Canada.
  • Saakel, Ross. “Capt. Wonder.” Triumph Comics no. 23, Bell Features and Publishing Company Limited, Nov/Dec. 1944, pp. 11-17. RULA Archives and Special Collections, Ryerson University, Toronto, Canada.
  • “Secret Devices Made in Canada.” The Hamilton Spectator, 19 Dec. 1942. Democracy at War: Canadian Newspapers and the Second World War, WarMuseum. http://www.warmuseum.ca/cwm/exhibitions/newspapers/information_e.shtml.
  • Steele, Theodore. “Speed Savage.” Triumph Comics no. 23, Bell Features and Publishing Company Limited, Nov/Dec. 1944, pp. 25-31. RULA Archives and Special Collections, Ryerson University, Toronto, Canada.
  • Triumph Comics, no. 23. Bell Features and Publishing Company Limited, 1944. RULA Archives and Special Collections, Ryerson University, Toronto, Canada.
  • Valentine, Patrick M. A Social History of Books and Libraries from Cuneiform to Bytes. Scarecrow Press, 2012, ProQuest Ebook Central. https://ebookcentral-proquest-com.ezproxy.lib.ryerson.ca/lib/ryerson/reader.action?docID=1664200.

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.

Women, the Second World War and Misrepresentation in Wow! Comics No. 14

2017 Canadian Whites, ENG810-022 Monique Tschofen, WOW Comics,
Good, E (a). WOW Comics, No. 14. June 1943. Commercial Signs of Canada: Cover. Bell Features Collection, Library and Archives Canada

Women, the Second World War, and Misrepresentation

During World War II, women were represented as dependent, beautiful, and helpless, especially within comic books. This can be shown through the depiction of the female characters within my comic. The way women were represented differs drastically from the way women actually were at this time, and all that they have contributed to Canada today. Through the analysis of the 14th issue of WOW! COMICS, and further secondary research, this paper will compare the representation of women within this comic during World War 2, to their roles within Canadian society and its establishment, and the importance of both. This argument is important because the way women are portrayed within these comics is a misrepresentation of women during this period, and  what women have contributed to the Second World War; thus limiting the knowledge of the  impact women have had on Canadian social/economic development.

Damsel in Distress Trope

In the 14th issue of WOW COMICS! the stories focus mainly on male protagonists that are seen to be hyper-masculine, and tend to solve their conflicts with other ch

E.T. Legault. Panel from “Dart Daring and the Rendezvous” Wow Comics, No. 14, June 1943, Commercial Signs of Canada

aracters through fighting and other acts of violence. According to Facciani et al., “female characters are often portrayed as being in need of saving by heroic male characters” (217). An example of this, is the character Loraine, who is in the story “Dart Daring and the Dreadful Rendezvous.” (Legalilt, E., 5-13). In this story, she is seen as the main male protagonist’s- Dart Daring-love interest and nothing else. As shown in Figure 1, Loraine is captured by pirates. The frame centres on the

“damsel-in-distress” trope, and implies that women are required to look their best no matter what situation they are in.

Lack of Acknowledgment for Female Characters

Another way women are misrepresented within this issue, is the unacknowledged opinion and voice of the female characters. An example of this would be the story “JEFF WARING” (Karn). In this story, one of the main male protagonists Jeff Waring is held captive by one of the antagonistic soldiers (22, Karn). Kay, the daughter of the second male protagonist, Professor Allen, sees that Waring needs help (22, Karn). Instead of fighting back against the soldier, Kay is shown running back to her father’s lab and telling him what she saw (22, Karn). When Jeff is rescued by Professor Allan, he thanks Kay for saving the day by acting the way she did (23, Karn). Through the act of Kay going to her father, it further implies that women should be dependent on men and cannot solve problems without the help of a man. In addition, Kay is not recognized for her part in the rescue of Jeff Waring. When Jeff thanks her for saving the day, Kay deflects the ‘thank you’ and centres again on Jeff, asking if he is alright (23, Karn). Not only does this show that women’s contributions are not acknowledge, but having Kay divert the recognition she does receive back on to the main male character, the comic seems to encourage young female readers to put men’s feelings, thoughts and opinions above their own. This correlates with the authors’ claim that the focus on women’s beauty and physical appearance in comics take precedence over their achievements in the story (Facciani et al., 217).

Furthermore, women in my comic are shown talking in one or two sentences that are either cries for help, or showing gratitude towards the male protagonist; or they do not speak at all and presented are presented as side character. An example of this portrayal of women is in the story “It All Started This Way” (Griffin). Specifically, on page 33, the main character and narrator of the story has moved to Ontario with his wife and just reunited with his old friend Al who is now his neighbour. In the small frame that shows the visual of the two men meeting, Al’s wife accompanies him. She is dressed sophisticatedly and is shown to be a beautiful woman. Despite her being there during this meeting, not a word is said from her nor is a name even given. In fact, there is no mention of her at all from either Vic or Al. This lack of validation of her very existence, enforces the idea that women are to be seen and not heard.

Benevolent Sexism

A prime example of what Facciani et al., call “benevolent sexism”-the involvement of viewing women in stereotypical and restrictive roles…which require the protection of men (217)-can be seen in the story of Whiz Wallace. This story focuses on a fighter pilot who rescued an unconscious female character named Elaine (47, Legault). Their plane crashes and Whiz travels through the scorching desert of Africa to “find help for poor Elaine” (48, Legault). It can be seen on page 49, that Whiz collapses with “the lifeless burden of Elaine.” The use of the word burden and the fact that Elaine is unconscious, further portrays women as something that men are required to look after. Additionally, when Whiz wakes up after being kidnapped by a king, he asks to see Elaine. The king reassures Whiz, stating that “there’s no need to worry. Your young lady is safe…” This subtle use of possessiveness implies that women are forms of property that should be cared for and looked after by men. In relation, Elaine, being reunited with Whiz, tells him that she’s ready to leave when he says (51, Legault). She is shown as being dependent on him to make decisions, instead of stating her thoughts and opinion on the matter.

In the story “Crash Carson”, the female character Jacqueline helps Crash and his partner defeat a group of Nazi soldiers (36, Tremblay), and offers the men horses as a form of transportation (37, Tremblay). Although she is described as ‘heroic’ (38, Tremblay), the story focuses on the romantic interest that Crash Carson has for Jacqueline, evident by the promise for him to come back after the war is over (37, Tremblay), and the kiss that results in Jaqueline telling Crash that she will wait for him. Crash does thank Jaqueline, but not for assisting in the fight against the Nazis, but for her kindness. The dismissal of her actions is followed by Crash’s description of Jaqueline as “a nice kid” who he’ll “think of throughout the war” (38). This description demeans Jaqueline to a love interest, altering the focus of her heroism and strength to a mere act of kindness. By belittling Jaqueline’s actions within the story, and all she does to help Crash and his partner, instead focusing on the romantic aspect of the story and shifting her character to a love interest in such a subtle way, further verifies the idea that women’s accomplishments are deemed secondary to those of men and their focus should be on romantic relationships. In relation to this, in situations where a female character helps a male character, the male character is older than the female character, and female characters are generally romantically attracted to the male characters that are helping them (White, 254).

 

Sexism of Women in World War II

All of the representations of women in my comic relates to the diminishment of the acknowledgement of women’s work during World War II. Although women were “praised for their bravery, loyalty to soldiers, steadfastness, and competence” (Honey, 677), they were still characterized as “slackers who were driven to their downfall by ambition or bitterness” (Honey, 677). During World War II, the Federal Government intended to draw upon the services of women (“Women in Industry”, 1939).The government also believed that “there exists a large reserve of women-power, which under proper management and direction could be very profitably utilized for the expansion of the war effort” (“Women in Industry”, 1939). By stating that women need to be “under proper management” and “direction” reinforces the idea that women are incapable of doing anything without the assistance of men.

Furthermore, the Federal Government only dispatched women who were physically strong to work in industrial work (“Women in Industry”, 1939). The Governm

Figure 3, Beauty on Duty

ent’s Department of Labour were found to “take precautions…to ensure that employers in their eagerness to increase output do not make demands upon women which they are not capable of fulfilling” (“Women in Industry”, 1939). The special precautions that were taken for women, were not taken or given to men, which implies that women were seen in the social eye as less capable of doing men’s work without some form of aid.

As shown in Figure 3, a woman’s “beauty” was something women still had to keep up in terms of social views. By having advertisements like these, focus is taken away from the important jobs and roles that women held during this time, and instead, focused on the

importance of physical beauty. Additionally, as explained in Proudly She Marches (Marsh, 1943), “women still had to maintain idealized beauty while fighting…” (00:05:09). In Figure 4, it can be seen that even though this is an advertisement for wom

To Make Men Free

en, the focus is still on men. By having the title “To make men free”, this advertisement centres on men and not women. Also, having this advertisement read “…you will share the gratitude of a nation when victory is ours” makes it seem like what the men are doing during this time, is more important than everything women did in order to keep Canada going during World war II

 

 

Women’s Accomplishments in World War II

 

Throughout WWII, women accomplished a lot that aided in Canada’s functioning and running as a country. Of these accomplishments, one of the most important is their placements in the work force. Gouldon & Oliviette (2013) found that the male labour force dropped by 9 million (257), and the women’s labour force, increased by 7 million (257). Having a drastic decrease in jobs for men due to drafting, opened many opportunities for women to take over these jobs and create a name for themselves. Most of these women, according to Honey (1983), “were predominantly from the working class” (683).

Additionally, Moniz (2016) found that “…assuming a ‘place’ in the nation war effort meant increased domestic responsibilities, volunteering, enlisting in the armed forces, and joining the civilian workforce” (81). As mentioned in The Home Front (Hawes, 1940), women also aided in the financial assistance and the war budget (00:04:00). Women did everything from working on planes to help production lines move faster (00:05:06) to helping foreign men by sewing their uniforms and aiding them in promotional work-based learning (00:05:51).

Women were also responsible for creating the Canadian Red Cross Organization, that was made up of women to help aid the war away from their homes (00:08:36). For this organization, they made hospital clothes, bandages etc. for refugees and injured men (00:09:26).  Furthermore, in To The Ladies! (Balla, 1946), 45,000 women took over the jobs of men during the Second World War (00:01:24). Women also worked on assembly lines, and used intricate machinery (00:01:57).

Specifically, volunteering women worked in “hostess houses”, giving their spare time to the men of the war (00:04:49). Volunteers also helped out hospitals that were short of nurses, giving care (physical/social) to veterans (00:05:00). Women used The Red Cross to send care packages and food to men overseas and in camps (00:05:14). They also created a program for price control (00:07:44), and helped beat inflation by reporting buying problems across Canada (00:08:05-00:08:17).  As explained by Marsh (1943), women took over male-dominated jobs so they could serve overseas (00:06:38).

Furthermore, women taught classes of men in fields like Aircraft Recognition (00:10:25). They also took many jobs in drafting of ships, and record keeping (00:12:22-13:09). According to Marsh, women played an important role as technical experts in the Army (0:16:09). Women also handled every form of motorized vehicles (00:16:30), which, along with industrial work, was seen as a male job. Within this film, Marsh also explains that “the safety and effectiveness of our Armed Forces rest on the new and exciting work performed by Canadian Women” (00:16:49).

 

Conclusion

 

Given the way women were represented in WOW! Comics No. 14, compared to all of the things women accomplished and contributed to the Second World War, it can be seen that the history of women was misrepresented at the time. This comic painted a socially acceptable (at the time) woman, who was dependent and always looked her best, which related to the societal norms of the war where women were concerned, but did not reflect how hard working and committed these women were during World War II.

The Reality of Indigenous People

ENG810-022 Monique Tschofen, Wow, WOW Comics, , , , , ,

Copyright 2017 Sarah Patriarca, Ryerson University

Introduction

During World War II, the family dynamic in Canada changed as fathers and brothers went off to fight in the war while the women were left to not only tend to the children, but also take over occupations typically held by males. As children were more or less left in the dark, the rise of comics provided Canadian children with a new source of entertainment. The comics illustrated different super heroes and plots based around the war at the time. Most of these stories included crude stories or depictions of events that helped the children to better understand what was going on without revealing too much for them to worry. In retrospect, the comics are a very good distraction to these kids. However, looking at the comics now as young adults, we can clearly see the crude humor of racism, and the facts of the war are displayed throughout these comics. In my comic, Wow Comic Issue. 16, there was one comic in particular that illustrated crude humour towards Indigenous people specifically. The specific comic I will be looking at is the “Jeff Warring” comic that uses the character of an Indigenous man and native setting to represent the Indigenous people in a certain way.  The research question I will be analyzing will be: How are the Indigenous People displayed in the comics? I believe that this comic displays Indigenous people as inferior to European Canadians, which in turn makes the audience perceive them in a different way. By using the simplistic language and illustrations of the comic, I will be able to show the difference between both characters. This topic will not only shed some light on how First Nations were seen as, but also give some perspective against stereotypical beliefs. Over the years, the First Nations of Canada have been characterized in a certain way that depict stereotypes and representations that are false, usually made by European Canadians.

 

European Canadians vs. Indigenous Canadians

In addition, the relationship between Indigenous Canadians and European Canadians are both the same in reality and in the comic. This relationship can be seen throughout the comic with the use of its illustrations and the text from speech/thought bubbles to analyze it more closely. In examining this, the reader can see that the European Canadian seems to have a speech of a superior tone over the Indigenous Canadian. The speech shown in the comic can be seen as very simplistic once the First Nation talks compared to when the European Canadian talks. For example, in my comic Jeff Warring would be considered as the European Canadian whereas the Chief of the tribe would be considered to be the Indigenous person. Throughout the entire comic, Jeff Warring speaks down toward the Chief in a condescending manner. It is also good to notice that the speech bubbles when Jeff Warring is talking contains more words, whereas the Chief have very little to no words involved in the speech bubble. Another way of looking at the difference between both races would be through the illustrations provided in the comic. The illustrations and the speech bubbles help the audience to see the difference of both characters when analyzing it. These very small details that show the comparison between both races. The illustrations are built to tell the viewer the story, while also building up knowledge for the reader as well. However, there are other stories that involve Indigenous people that are not

Source: Native American Heroes in the Comics: An Overview (Part 1), Kevin Breen, Blue Corn Comics (2005). © Whitman Publishing Company; 1st Edition (1940)

as inferior to European Canadians. In some comics, the Indigenous people are seen as doctors, business people and other higher positions in occupations (Dither and Larsen, 2010). This shift of representations displays how Indigenous people helped out in the war, even though this is rarely shown in history. On the contrary, there is one example where the comic displays the Indigenous person in more of a popular demand than the European Canadian character. The comic examines a Native hero, Big Chief Woohoo. Originally, he first appeared alongside a European Canadian hero named Gusto, however soon after Big Chief Woohoo, got the lead role in his own comic. Although, in this perspective, the Indigenous character was seen as superior over the European Canadian characters, the reasoning why Big Chief Woohoo became so popular was because of pop culture’s stereotypical approach towards Indigenous people. It is noted that “He fit the role of the ignorant savage” (Breen 2005) and much of the reason he became so popular is because the author made him ignorant to technology. This is a great example of the use of using illustrations and simplistic language to help depict a character. The only reason his character became a favorite to the audience is because of the crude humor and illustrations that made him seem inferior to a white character like Gusto. “You couldn’t find a better example of the ignorant savage than Wahoo. Besides the language cited above, the way he wrote letters in pictures, and his attempts to ride a car like a horse.” (Breen, 2005).  Even though, Big Chief Woohoo, is seen as superior to Gusto, he only became popular because his character lacked knowledge that supposedly more European Canadian’s have. The illustrations in the Jeff Warring comic specifically, reflect this approach in the differentiation of both races.

 

Stereotypes in Appearance: What Do You Think?

Furthermore, the illustrations in the comic help to support the case of how Indigenous people are perceived to its wider audience. The illustrations aid the reader to look deeper into the meaning of the comic and pick out certain characteristics that stand out when looking at the relationship between European Canadians and Indigenous people. When looking at the comic character of Jeff Warring and the Chief, the audience can see that the relation between both characters are very different. The comic displays Jeff Warring has an average looking man, with appealing features that captures the eyes of the audience. While in comparison, the

Murray Karn. Panel from “Jeff Warring.” Wow Comics, No. 16, August 1943, Bell Features and Publishing Company: http://data2.collectionscanada.gc.ca/e/e447/e011166678.pdf

Chief is made to look non appealing, with features that get overlooked. When looking at the comic now, the reader can see that the illustrations tend to favour the appearance of a stereotypical Indigenous persona, and also display stereotypical movements in the illustrations of how they would have acted. This misinterpretation and inappropriate facts used against Native Americans shifts the audience’s perception on how they are viewed. Comic books, specifically a part of Pop Culture, details the prominence of anti-Indianism in comic books, particularly as means through which Euro-American authors and audiences have made claims on and through Indianness (King, 2008).  The audience when viewing the comic, takes the illustrations of the comic and reads in between the lines and perceives in a way that makes sense to them. For example, if the Chief is displayed with a racial appearance that goes with the stereotypes, as seen in the picture below, then the audience will see the Indigenous Chief in that manner because it was handed to them. These illustrations prove that our perceptions are made based on what the media shows us. In particular, the media and general sources, such as Encyclopedia’s and news documents, only display the negative aspects of the Indigenous people’s history and their war efforts as well.

 

Are the Media and the Government the Real Culprits?

Moreover, when researching this paper, I took note that most of the information about Indigenous people’s efforts in the war were erased from the mass media. This became very problematic when dealing with this topic because sources for this essay became scarce. In the perspective of the audience, this becomes an issue because lack of information means that many readers are not educated on actual facts. Instead, the media are sources that display these stereotypical approaches, which is the only thing the people know. We as millennials know in the 21st century, the mass media has become one that encompasses all knowledge and is used in everyday activities. As the people, we cannot deny that the media is a very powerful thing that can control how people perceive the world. In particular, history is effective and powerful, as we have come to realize with past historian rulers, whether they produced positive or negative impacts. However, in regards to Indigenous people in the media, it has been left out in majority of sources that Indigenous people did aid in wartimes. However, North American resources have wiped out majority of their efforts and in turn, shifting all the contributions on to the European Canadians, glorifying them in a sense. This is a problematic aspect because society forms a stigma and stereotypical approach to the Indigenous people rather than educating themselves. “The paper concludes that it is a responsibility of society to educate all students to understand that any portrayal of history comes from a particular vantage point and to understand that dominant society privileges some representations and disadvantages others” (Iseke-Barnes, 2005). People lose out on greater knowledge when the government decides to erase their efforts from the mass media. More so, the government is part of the blame for the stereotypical and prejudice the Indigenous people face in the comic, and in reality. In particular, what I have observed from my comic, is that women play a huge role in part of the prejudice that is associated with the Indigenous people. Looking at the comic from a child’s perspective, it can be

Murray Karn. Panel from “Jeff Warring.” Wow Comics, No. 16, August 1943, Bell Features and Publishing Company: http://data2.collectionscanada.gc.ca/e/e447/e011166678.pdf

seen that there could be a romantic association with Jeff Warring and the Chief daughter, Tana, who is the main female character apart of the comic. However, looking at the comic through the lens of a researcher, you can observe that the relationship between Jeff Warring and Tana is submissive and dominant. Tana’s character goes against her own father, to help Jeff Warring escape and fight against her own kind. This can be related to the events of a women named Dorothy Chartrand, who was a part of the Metis tribe and had to be a service woman because her husband joined the war. In this journal article, she recounts her experience and the reasons she joined, as well as how she was treated and discriminated for her race. Her “grandmother’s teachings about oppression and its operation in the lives of Métis” in which she described the role of government to take away “your pride, your dignity, [and] all the things that make you a living soul. When they are sure they have everything, they give you a blanket to cover your shame” (Iseke and Leisa, 2013). They explain how even though their efforts were purely voluntary and not paid, the government still discriminated against them. This point in time, really shaped the lives of these women and were a critical point for these Indigenous women. The character Tana was stripped of everything, and aided Jeff Warring. In relation to the mass media, pop culture makes it so that when we perceive it as an audience, we see it as two characters falling in love, when in actuality it has a deeper meaning that children reading these comics will not understand. Children at a young age reading these comics take that interpretation and bring the stereotypical information with them into their adolescent and adult years.

 

Conclusion

To conclude, there is a very big separation between European Canadians and Indigenous Canadians that an observer can see in the comic and in reality. In particular, to the Jeff Warring comic story in Wow Comics, we can see this relationship when looking at both illustrations and speech bubbles that are in the comic issue. The speech bubble’s that the Chief uses is more simplistic language, whereas the European Canadian, Jeff Warring uses more terminology that can make the audience see the superior and inferior complex between both characters. The illustrations are used to make Jeff Warring appealing to the eye, whereas the Chief is the latter, which creates an image in the audience’s head of what Indigenous people are supposed to look like. The audience can take note that the mass media and government play a huge role in how we interpret Indigenous people. Due to the fact that there are no records of Indigenous people which makes people have a lack of knowledge when it comes to the topic. As well, the observer can notice that the relationship between women and government, is related to Jeff Warring and Tana, which can seem to be romantic when in actuality it is something far greater. In result, with the use of illustrations and simplistic language in the comic, we can see the meaning behind the superior and inferior relationship between European and Indigenous Canadians. Indigenous people are seen to be inferior, that even with the efforts of being portrayed in a comic, popularity will always be predominant for the European Canadian.

 

Work Cited

Dither , Jason, and Soren Larsen. “Originality and the Arctic North in Canadian Nationalist Superhero Comics, 1940-2004.” Originality and the Arctic North in Canadian Nationalist Superhero Comics, 1940-2004, 2010.

Judy, Iseke M., and Desmoulins A. Leisa. “Critical Events: Metis Servicewomen’s WWII Stories with Dorothy Chartrand .” The Canadian Journal of Native Studies, vol. 33, no. 2, 2013, pp. 29–54. Canadian Business & Current Affairs Database.

King, C. Richard. “Alter/Native Heroes: Native Americans, Comic Books, and the Struggle for Self-Definition.” Cultural Studies ↔ Critical Methodologies, vol. 9, no. 2, 31 Dec. 2008, pp. 214–223., doi:10.1177/1532708608330259.

Iseke-Barnes, Judy. “Misrepresentations of Indigenous History and Science: Public Broadcasting, the Internet, and Education.” Discourse: Studies in the Cultural Politics of Education 26.2 (2005): 149-65. Web. 11 Nov. 2017

Breen, Kevin. “Native American Heroes in the Comics: An Overview (Part 1).” Blue Corn Comics — Native American Heroes in the Comics:  An Overview (Part 1), Blue Corn Comics, 28 Sept. 2005, www.bluecorncomics.com/kbreen.htm.

 

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.

 

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.

___________________________________________________________________________

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.

 

 

___________________________________________________________________________

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.

The Representation of Women in Comics in the 1940s

2017 Canadian Whites, ENG 810 Fall2017 Section 011 - Monique Tschofen, The funny comics with Dizzy Don, , , , ,

Copyright © 2017 Liran Yefet, Ryerson University

Introduction

Female characters have served different purposes over the years within comics, whether they are the sidekick, the love interest, or even the villain. However, whether or not the roles women assumed in comics were reflective of the societal views of women during that specific time period is another matter altogether. In the fifteenth issue of The Funny Comics with Dizzy Don: The Miracle House Mystery released in towards the end of World War II in December of 1944, there are two main female characters: Diana Mite and Shirley Watson. Diana Mite is the go-getter villain whose hair still manages to look flawless regardless of what she is doing, while Shirley Watson is there purely for aesthetic purposes — a pretty face in Dizzy Don’s clique. Even though Shirley does not do much in the comic, Diana is hands on, going out and doing the dirty work herself. To varying degrees, both female characters are reflective of the sexist societal views and beauty standards of women in the 1940s, who were starting to deviate from at home labour and make the transition towards paid labour.

Women in the Workforce During World War II

With the men at war, women were left behind to tend to matters at home. This resulted in a shift in the type of labour females did from more traditional housework to paid labour. However, not all women were necessarily capable or interested in the opportunity of paid labour. Thus, the idea of women filling in the labour shortages left by the men at war was initially marketed moreso at young, unmarried women rather than mothers with children to take care of, and a husband’s income because of the societal views that a, “. . .women’s place was at home, and so initial recruitment was directed at young unmarried women and then at married women without children” (“Women’s Emancipation. . .” 164). With women now starting to make an income themselves, the attitude towards allowing women in the labour force began to change, as women were now needed due to the shortage of workers.

Also, the attitudes of women in general changed, as they were starting to gain independence through their careers, which made their jobs of value to them in that sense as well because, “Work for money, regardless of type of work, generates different attitudes and relationships among family members” (Costa 102). This is reflective in the comic in the sense that Diana Mite, who is a working woman, is more independent than Shirley, who is more traditional and is only ever seen by a man’s side. Unlike Shirley, Diana Mite is not sitting around at home taking care of the house while the men are at war, but rather teaming up with others to take down her nemesis. Opposite to Diana is Shirley, who does not do much except serve the plot and boost Dizzy Don’s ego. She represents more of the traditional image of a woman who is devoted to the husband-like figure in her life, and is there mainly to stroke their ego and as arm candy.

Diana Mite

Diana Mite is one of the main antagonists in the Miracle House Mystery, along with Driplip. Despite the physical labour she does, she is still the image of the ideal woman in her heels, dress, and perfectly done hair — this regardless of what she is doing. Although the overtly sexual nature and hyper feminization of her depiction was common for female characters in comics at the time, as this was also the case with George McManus, and his depiction of the character Maggie in the Bringing Up Father comics

One gets the impression that McManus simply couldn’t control himself when drawing women’s bodies, and by the 1920s through the 1940s, he had even developed a habit of drawing Maggie in transparent dresses through which her fabulous figure could be seen in silhouette. (Robbins, “Gender Differences in Comics”)

Similarly, Diana Mite is described as, “. . .tiny and attractive. . .” (Easson 1) in her character description, while the description of her male counterpart, Driplip has nothing about his physical appearance. This is sexist due to the fact that Diana is so much more than just her looks — she goes out and gets stuff done, so the focus of her description should also be about her nature and not about her looks. It is not fair to Diana Mite to have her body commented on if none of the male characters have their bodies commented on just because she is a woman, much less that the comments made about her body are sexual in nature. She is described to have the ideal female figure to men, which is something a female writer would likely not have done due to having experienced the sexism of the time firsthand.

Not only that, but Diana Mite does all of the dirty work for Driplip, whom she works with. While Diana does the hard, physical work herself, Driplip still takes most of the credit, even though he just mainly handles the business side of things. This is reflective of how even though women were free to make their own income, it was because the men were incapable of doing the labour themselves, and not because they were needed for the sake of workers, regardless of their gender, being needed. Had the men been at home working instead of at war, it is unlikely women would have been allowed to start doing paid labour because then they would be taking jobs from the men, who were considered to be the major source of income in the household at the time. It did not matter if the woman was more qualified for the job similar to the way Diana Mite was more qualified than Driplip to take out Dizzy Don’s plan, and was only hired because Driplip could not physically do the job himself. Men like Driplip who were less qualified would have likely gotten priority over the woman for the job. This is all just to play into the patriarchal views of who should traditionally be working and bringing in the money in the household: the men.

Manny Easson. Panel from “The Miracle House Mystery.” The Funny Comics With Dizzy Don, No. 15, December 1944, p. 10. Bell Features Collection, Library and Archives Canada.

Whether or not Driplip was absolutely necessarily in the plot against Dizzy Don is arguable, as while he handed the “business side” of things, Diana Mite likely could have been just as well without him. He even goes so far as to call her the, “. . . smartest operator in the world,” (Easson 10) and says, “‘Diana Mite’ — she can do it if anyone can,” (Easson 10) which is a clear indicator that Diana is the more physically capable one in the partnership. After all, she did all of the dirty work all while still looking perfect, and Driplip kind of just sat around for most of the comic waiting for her. This is ironic considering that men are supposed to be stereotypically stronger, but somewhat irrelevant in the situation, as he gets credited like he is the one who did all of the hard work in the plan. It is important to note that the comic attempts to insinuate that his role is equally, if not more important than hers, and that she is carrying out his plan, not hers, thus making him the evil mastermind and her just an accessory in his plan. The reality is Diana Mite is more than just an accessory to his plan because she is the one who actually carries it out, so her role in the plan is the one that is more important. Without her, Driplip likely would not have gotten anything done. Thus, Diana Mite is representative of both the patriarchal beauty standards women were held to in the 1940s, and the way women were only wanted in the workforce to do the jobs the men could not do because they were away at war, not necessarily because they were equally, if not more qualified for the job.

Shirley Watson

The other main female character in the comic is Shirley Watson, who is Dizzy Don’s friend in the “Miracle House Mystery.” Shirley is representative of the patriarchal view that women should be housewives and accessories for their husbands in the 1940s. She is fairly useless, and is mainly there to serve the plot. Without the story itself, Shirley would serve no real purpose due to her lack of character development. Shirley is there merely to amuse Dizzy Don, and get information out of him that furthers the plot. Everything about her from her background story to her dialogue only serves the purpose of furthering along the plot. 

Manny Easson. Panel from “The Miracle House Mystery.” The Funny Comics With Dizzy Don, No. 15, December 1944, p. 6. Bell Features Collection, Library and Archives Canada.

Shirley is the one with the brother who is a soldier returning from the war, thus giving Dizzy Don a connection to the soldiers returning home. Other than Shirley’s brother, there is no one else personally connecting Dizzy Don to the war and the cause that he is trying to help. Even though it is Shirley’s brother returning from the war, the plot continues to revolve around how Dizzy is solving the housing crisis, while Shirley just kind of follows him around and ask her plot-furthering questions whenever necessary. She is even the one that asks her brother, “What are your plans Bill?” (Easson 6) which causes him to bring up the housing crisis caused by the soldiers returning from the war and having no place to go back to. Then Dizzy immediately responds that he has an idea on how to solve the housing crisis, which furthers the plot. The problem with this is that while the male characters get real character traits and proper, dimensional attributes that allows them to exist independently from the story, Shirley Watson has no personality because her purpose revolves around Dizzy Don, and being a pretty face at his side at all times, just like how women in the 1940s could only leave the house with a man at their side. If one met Shirley in real life, one would have a hard time getting to know her because she is not a multi-dimensional person who can exist outside of the story.

On top of this, Shirley fits the stereotypical beauty standards of women in the 1940s with her well-styled curls, modest dress, heels, and perfectly applied makeup. Thus, not only is she a one-dimensional character, but she looks like one too. There is not a lot that sets her apart from the other characters, so she kind of blends into the background and is there as just another pretty face like the housewives in the 1940s who were like accessories to their husbands.

It is a view rooted in the belief that women should do as the men in their lives please, definitely more male superiority over women-oriented that could be a result of the story being told by a male author and thus likely reflects his societal outlook. Had a female written this comic, it is less likely that Shirley would have remained as underdeveloped as she was throughout simply due to the fact that a female writer would likely have a better understanding of the patriarchal problems in the 1940s and the negative effects as a result. Therefore, through this understanding, a female writer would be able to write a more balanced comic that would play less into sexist stereotypes such as finding a women’s value in her looks. Hence, Shirley Watson is a representation of the patriarchal view that women were accessories to the men in their lives, and that their purpose revolved around men the way Shirley’s purpose revolves around Dizzy Don.

The Juxtaposition Between These Two Female Characters

Even though Shirley Watson and Diana Mite exemplify two contrasting examples of women in the 1940s, both are hindered by patriarchal views that confine them to the ideal beauty standards of the time, and showcase their inferiority to men within the comic. Shirley, the girl who acts as an accessory to the plot and never goes anywhere unless she is hanging out with Dizzy Don or some other man whom her life revolves around is the opposite of Diana, who is the working woman entering the labour force, and who gets what she wants done by herself. Despite their differences, both ladies are the picture of the ideal woman with their done hair and makeup, cute dress, and heels. This is a reflection of how most, if not all women in the 1940s were in some way constricted by patriarchal views that prevented them from ever truly being independent from the men in their lives.

Moreover, Diana Mite and Shirley Watson represent the working woman entering the labour force, and the loyal housewife respectively. Through antagonizing Diana Mite and making Shirley Watson one of the good characters, the comic is likely suggesting that having women in the workforce is bad, and that a woman’s place is wherever the men in her life need her to be: at home. An impressionable child reading this comic in the 1940s without the same exposure to feminist ideals as most children today could come to the conclusion that a woman should not be doing paid labour. This is because Diana Mite, an example of the working woman in the 1940s only causes trouble for Dizzy Don, and thus working women like her should stay at home and out of the way of men. This outlook sets women back in the workforce, and their transition into equal paid labour and equal opportunity regardless of one’s gender. Therefore, it is important to note that the antagonization of the working woman within the comic is harmful as it plays into the patriarchal societal views of the 1940s.

Conclusion

The comic The Miracle House Mystery utilizes the female characters Diana Mite and Shirley Watson to reflect the sexist views of the 1940s on women in the workforce. Diana Mite, who is physically carries out the plan against Dizzy Don is antagonized to reflect the view that a women should not be in the workforce, but rather at home or by a man’s side. She is capable of being independent, but by having Driplip be her partner, the comic takes away from everything she does on her own. On the other hand is Shirley Watson, who is only there to serve the plot and has no real character traits to her, and is reflective of the more traditional view that a woman’s place is an accessory to the man in her life gets to be one of the good characters. Ultimately though, regardless of what role these two women play in the story, they are both similar in the sense that they are the epitome of idealized female beauty standards, thus making them both trapped in a sense by patriarchal views. This juxtaposition of these two female characters showcases the sexist societal views of the 1940s, and those of the author of the work. Through this, the comic gives the reader insight into the societal views on women in the 1940s, thus likely causing them to reflect on how women were hindered by the patriarchy during the 1940s.

Works Cited

Costa, Dora L. “From Mill Town to Board Room: The Rise of Women’s Paid Labor.” Journal of Economic Perspective, vol. 14, no. 4, 2000, pp. 101–22, doi:10.3386/w7608.

Easson, Manny, and Mickey Owens. “Ryerson University Library.” The Funny Comics with Dizzy Don : No. 15 / Miracle House Mystery, http://catalogue.library.ryerson.ca/record=b2611402.

Murdoch, Maureen, et al. “Women and War.” Journal of General Internal Medicine, vol. 21, 2014. www.readcube.com, doi:10.1111/j.1525-1497.2006.00368.x.

Pierson, Ruth. “Women’s Emancipation and the Recruitment of Women into the Canadian Labour Force in World War II.” Historical Papers, vol. 11, no. 1, 1976, pp. 141–173, doi:10.7202/030808ar.

Pierson, Ruth R. “Canadian Women and the Second World War.” World War II and the NFB :: The Home Front, 2008, http://floraweb.nfb.ca/ww2/home-front/women-and-the-war.htm?article=18789&subtype=articles.

“Remembering Canada’s Role in WW II.” CBC News, 29 Apr. 2010, http://www.cbc.ca/news/canada/remembering-canada-s-role-in-ww-ii-1.871801.

Robbins, Trina. “Gender Differences in Comics.” Image and Narrative, Edited by Heike Jüngst, vol. 2, no. 4, 2002, www.imageandnarrative.be/inarchive/gender/trinarobbins.htm.

Silverstein, Brett, et al. “The Role of the Mass Media in Promoting a Thin Standard of Bodily Attractiveness for Women.” Sex Roles, vol. 14, no. 9-10, 1986, pp. 519–532., doi:10.1007/bf00287452. .

Songs My Mother Taught Me. 10 Sept. 1945, http://www.cbc.ca/andthewinneris/war_brides_620.jpg.

Tepper, Sean. “Heroes of the Canadian Golden Age of Comics | Toronto Star.” Toronto Star, 11 Oct. 2013, https://www.thestar.com/entertainment/2013/10/11/heroes_of_the_canadian_golden_age_of_comics.html.

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.

Who Are You? Where Are You From? What do you Stand For? Questions of National Identity in Dizzy Don Issue 14

2017 Canadian Whites, ENG 810 Fall2017 Section 011 - Monique Tschofen, The funny comics with Dizzy Don, ,

© Copyright 2017 Sophia Vecchiarelli, Ryerson University

Introduction

At first glance, the issues of national identity in Dizzy Don Down South America Way Issue 14 may not jump out at readers. It may appear as just another comic released in 1944 by Bell Features: to a child who lived in 1944, it could be considered funny, with an adventurous plot, and awe-inducing heroes; to a 21st Century reader, it would come across as fairly stereotypical, poorly produced and horribly racist. Through a closer reading, one begins to notice the overarching concept of identity and the all-encompassing attitude nationality seems to inflict on that identity. This paper will be discussing the historical and contextual factors that affect the way readers approach Dizzy Don Down South America Way through the lens of national identity. It will provide a constructed definition of national identity using multiple scholarly articles that have been published in that field, which can then be applied to the characters in Dizzy Don Down South America Way. Moreover, this essay will discuss the shifting of nationality and the affect it has on the identities of the characters. Most importantly, this paper will be exploring the impact of characterizing identities through nationality and how that affects the young readers Dizzy Don Down South America Way is directed to.

Historical and Contextual Factors

To begin, the historical factors of World War 2 will have an important impact on the way nationalities are depicted in Dizzy Don Down South America Way Issue 14. World War 2 took place between 1939-1945 and pitted nation against nation (“World War II Fast Facts”). During this time, who one was and where they came from were considered the same identifier (Dauphinee). One’s country of origin was used to identify a person as quickly as their name would be used (Dauphinee). An article from The Globe and Mail in 1943, titled “No Japs left on Kiska as Canucks, Yanks Land” illustrate the way people categorized each other based on their home nation (Dauphinee). The names of individual soldiers are not used in this article, it is simply their country of origin that matters and that is all a reader needs to know in order to judge these men. This technique was used to classify people as being allies or enemies during war and this technique translates into Dizzy Don Issue 14.

Furthermore, one must understand the medium of the comic book and the importance of the time period in which Dizzy Don Issue 14 was created. Comic books in Canada were in their golden age during World War 2 because of the War Exchange Conservation Act, put in place to stop trade between Canada and other countries (Bell). This Act allowed Canadian comic book makers to thrive and publish stories that enhance Canadian national identity (Bell). It can be assumed, given the content, comic books were directed mainly at young boys. It can also be assumed that comics were used to make children laugh in a time when laughter didn’t always come so easily. However, not everything in Dizzy Don Issue 14 is

Fig. 1. Manny Eason. Pp 36, Dizzy Don Comic. No.14, Aug/Sept 1944, Bell Features. http://data2.collectionscanada.gc.ca/e/e447/e011166605.pdf

humorous as many stories are filled with propaganda and bias ideas against certain types of people (Easson 36-40). It is important to remember to step back and remind oneself of the time period in which these materials were released. Many aspects of Dizzy Don Issue 14 will not seem acceptable to the mind of a 21st Century thinker but for the sake of understanding this paper and comic better, historical perspective is helpful.

A Definition of National Identity—Somewhat

The Oxford English Dictionary defines national identity as “a sense of a nation as a cohesive whole, as represented by distinctive traditions, culture, and language” (Oxford English Dictionary). This definition allows for a starting point in thinking about national identity; it is a concept that people are connected through their nation, where they live, even if they are not connected in any other way. It is another technique that humans have come up with to divide people into categories of us and them (Thompson 251). It causes people to start thinking about their home country in a certain way, as being bonded through their “shared” traditions, and outsider countries of having “other” or “different” ways of living (Thompson 251). In powerful countries, such as the United States, it creates a “nationalistic impatience” with outsiders who cannot or don’t want to assimilate into the “right” national identity (Thompson 250).

During World War 2, dictator Adolf Hitler used nationalism as way of excluding anyone who wasn’t his ideal citizen, using this concept to make citizens have the mentality of being better than other countries (Thompson 250). One could argue that the need to be the strongest nationalistic country caused the death of millions. This concept of nationalism is able to be extracted from war and politics, presented to children in the comics of 1944, and in the present, still plagues citizens at every turn.

An argument that can be drawn from this definition is that where one comes from is a part of who they are as a human being and is displayed through the way one walks, talks and approaches situations. However, Dizzy Don Down South America Way takes this concept to a new level when representing characters from all around the world; their identity of “self” and their nationhood are so intertwined that changing their nationality changes the essence of a character.

Dizzy Don Down South America Way—Identity Displayed

The article, “The Many Lives of Captain Canucks” explains the connection between national identity and comic books as such “comic books, as a visual medium, engage this act of imagination, in turn facilitating the mental construction of the nation and national identity” (Edwardson 185). Given the excerpt from this article, it is not surprising that Dizzy Don Down South America Way creates an imagined environment where what characteristics one displays are directly correlated to where they are from.

The Americans in Dizzy Don Issue 14, Dizzy Don, Shirley Watson and Canary Byrd, are portrayed as cool, sly, funny radio hosts who are going on tour to meet their fans from South America (Easson 10). They are beautiful and smart, the heroes of the story who can defeat any problems they could possibly come across (Easson 30). They are untouchable and powerful, just as the United States would have been viewed, by allies, during World War 2.

The South Americans, represented by Senor Cabana Manyana, Senor El Ropo, Sugar Lips and the South American police officer, are represented as mysterious, sexy, a bit clueless, and very useless outside of the extravagant parties they throw for their “favourite Americanos”. In particular, the scene after Shirley has been kidnapped by unknown bandits, Dizzy Don and Canary Byrd go to the police but the police officer offers to find Shirley in a month or two, dead or alive and Canary Byrd tells him “Go back to sleep now chiefy” (Easson 19). Dizzy Don proceeds to say they will deal with this themselves, furthering the characteristic created in this imagined setting of South Americans being no help and the Americans saving the day.

The Canadian, by represented by Joe Flip, seen only in one series of frames in the comic as being polite and helping the Dizzy Don and Canary Byrd save Shirley (Easson 24). He introduces himself as Canadian and then simply offers his services as a polite; the audience learns nothing about Joe other than that he is Canadian, he has the ability to fly a plane, and is eager to help the Americans.

Who these characters are cannot be distinguished outside of their nation and they are confined to the imagined national identity of that nation; until, of course, their national identity changes.

Shifting National Identities

The plurality of national identities is based on the idea that national identities are not static, they change from context to context (Andreouli and Howarth 362)). The idea of plurality is one person can hold multiple nationalities or a nation can have an influx of multiple identities (Cantle 315). According to the article “National Identity, Plurality and Interculturalism”, this leads to a nation of multiculturalism where there is “no us versus them” concept in play but a place that embraces new thoughts and ideas that can only come from outside sources (Cantle 315).

However, despite the positive expectations Cantle has for plural national identities, he predicts that

“The postwar ideal of a more integrated international community, in which ideas and cultures may bridge national boundaries to create a world in which we are more at ease with each other, is seldom now advanced as a desirable political objective, despite the evident interdependency of economic and political decision-making” (Cantle 313-314).

People view minorities and “other” national identities as threats to their carefully crafted world (Cantle 313). The need to classify and create the “us versus them” ideology is too distinct in humans; it is how people are able to make sense of their worlds and disrupting that is too challenging, even if it could bring positive possibilities, like Cantle believes.

This ideology was alive back in 1944 as portrayed in the article “S. Africa Hospital in Italy Has 26 Canadian Nurses”, where the reporter questions if the nurses in Africa have become African or if they are still Canadian. There is no discussion about whether they could be both Canadian and African, choosing to adopt traditions from both cultures. The reporter goes on to mention some of the nurses married African men and hints that they have chosen Africa over their Canadian roots (“S. Africa Hospital…”). This is the concept present in Dizzy Don Down South American Way, that there is no in-between for national identity. One can only be this or that and whichever they choose becomes an irreversible part of who they are.

What Nationality Shifts Mean to Character Development

The shift from one nationality to another for Senor El Ropo and Sugar Lips completely
change who the audience thought the characters where up until this point. Senor El Ropo was the shifty, mysterious, odd South American who a reader could think was suspicious but not outright dangerous. Sugar Lips was the sexy, mysterious, South American songstress who could be considered eye candy and little else as she only appeared to speak Spanish. Both characters kept up their façade until their true identities (nationalities) were revealed.

Sugar Lips is no longer the sensual singer, as she is no longer South American, but a skilled kidnapper from Brooklyn that plans to auction Shirley off for ransom (Easson 18).

Fig. 2. Manny Eason. Pp 18, Dizzy Don Comic. No.14, Aug/Sept 1944, Bell Features. http://data2.collectionscanada.gc.ca/e/e447/e011166605.pdf

While she is still portrayed in her South American dress and heels, her facial expression and tone shift to a cold criminal with an attitude. She tells Shirley in one frame, “Listen babe! That Spanish was just an act I was brought up in Brooklyn. See,-your pals are gonna kick in a heavy ransom for you, and we need the dough, get the angle? Sweetheart” (Easson 18) She has acquired a whole new set of traits with her new nationality and has dropped the “performance” of a South American.

Senor El Ropo, similarly drops his performance as a South American cigar company owner when he is revealed to actually be a German spy working for Hitler and the Nazis. El Ropo becomes “Nutsi Agent Schwarīzmuller” and with his new name, he adopts new personality traits (Easson 27). All of a sudden, he is willing to kill Shirley and himself in the name of Hitler, when there has been no indication thus far that he is interested in killing anyone. When he acquired his German nationality, he also acquired “his true self” of being a murdering spy. There are no traces of El Ropo left in him, as though that was a different person altogether.

These two examples display the all-encompassing role nationality plays in this imagined comic world. A character cannot be both a mysterious South American and a murdering German as the two nationalities cannot be inhabited in the same person for the sake of the traditional solo national identity.

Why National Identity (Identities) in Comics Matter

One might be considering whether the comic itself amplifies the importance of nationality for the purposes of the tale or if it has sunken into the subconscious of the writer, publishers, and illustrators involved and unfolded unintentionally. Truthfully, it could be one or the other, or it could be a bit of both but the reason why it’s there doesn’t matter—what matters is the fact that this is the representation of national identity in comics at all.

In a child’s comic book, national identity is being used as a prop to further the divide between people who are the proposed “us” and who are the “them”. In this case, it’s the Germans who are the villains, the Americans who are the heroes, the Canadians as minor aids in getting the job done, and South Americans appear as useless, as it would be reflected to one perspective in the war. It displays the idea that people can perform identities of minorities to achieve a goal but outside of that, they will never be the heroes or the villains (Barbour 271).

However, this isn’t just a staple in the past that has changed as humans evolved and became more politically correct. It is not just a comic book that has no reflection on real life. These same issues are alive in the 21st century. The countries that one labels as hero or villain may have changed but the underlying issue is still there; people are too busy pointing fingers at each other to be conscious of what blossoms from segregation. It became Hitler in 1939, believing that Germany is the only country worthy of being powerful, it became millions of people dying, fighting each other simply because of where they come from and sadly, it became education for young kids who read comics like Dizzy Don Down South America Way and saw the world in terms of nationality.

Works Cited

Andreouli, Eleni, and Caroline Howarth. “National Identity, Citizenship and Immigration: Putting Identity in Context.” Journal for the Theory of Social Behaviour 43, no. 3 (2013): 361–82. https://doi.org/10.1111/j.1468-5914.2012.00501.x.

Barbour, Chad. “When Captain America Was an Indian: Heroic Masculinity, National Identity, and Appropriation.” The Journal of Popular Culture 48, no. 2 (2015): 269–84. Scholar Portal Journals, https://doi.org/10.1111/jpcu.12256.

Bell, John. “Comic Books in English Canada – The Canadian Encyclopedia.” The Canadian Encyclopedia, July 8, 2015. http://www.thecanadianencyclopedia.ca/en/article/comic-books-in-english-canada/

Cantle, Ted. “National Identity, Plurality and Interculturalism.” The Political Quarterly 85, no. 3 (2014): 312–19. https://doi.org/10.1111/1467-923X.12101.

Dauphinee, John. “No Japs Left on Kiska As Canucks, Yanks Land.” Globe and Mail, August 23, 1943. http://collections.warmuseum.ca/warclip/pages/warclip/ResultsList.php

Edwardson, Ryan. “The Many Lives of Captain Canuck: Nationalism, Culture, and the Creation of a Canadian Comic Book Superhero.” Journal of Popular Culture 37, no. 2 (2003): 184–201. Scholar Portal Journals, https://doi.org/10.1111/1540-5931.00063.

Owens, Mickey, Manny Easson, and Bell Features, eds. The Funny Comics with Dizzy Don: No. 14. Toronto, Ontario: Bell Features and Publishing Company Limited, 1944. http://data2.collectionscanada.gc.ca/e/e447/e011166605.pdf

Thompson, Ewa M. “Nationalism, Imperialism, Identity: Second Thoughts.” Modern Age; Wilmington 40, no. 3 (Summer 1998): 250–61. ProQuest, https://search.proquest.com/docview/196868484/abstract/8A2D52CC9A954AA7PQ/1

“S. Africa Hospital in Italy Has 26 Canadian Nurses.” Globe and Mail, December 19, 1944. http://collections.warmuseum.ca/warclip/pages/warclip/ResultsList.php

“World War II Fast Facts.” CNN, Cable News Network, 17, Aug. 2017, http://www.cnn.com/2013/07/09/world/world-war-ii-fast-facts/index.html

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.

Cultural Anxiety, Women, and Triumph Comics no.21

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

© Lea Sansom 2017, Ryerson University

Introduction

The role of women was changing drastically during and after World War II. As with any major cultural shift, this change in role was met with varied reactions from society at the time. There was major cultural anxiety surrounding the role of women as they went from homemakers and mothers, to working in factories and more. This cultural anxiety is evident in texts from the time, including in Triumph Comics no. 21. In this comic, there is no unifying message around the role of women. The female characters present in the various stories are represented as strong and capable heroes, or as weak damsels in distress. This is evident in the way they are drawn, as well as their actual role and importance in the narrative of the various stories. Taking these examples and the historical context into account, it is possible to see how the cultural anxiety surrounding the role of women at the time was present within this comic. Looking at the comics individually, it might seem that certain ideals were being promoted. When they are all taken into account together, given that they were published in the same issue, it presents a fairly conflicted idea of women and their role. This is similar to the cultural conflict taking place at the time surrounding the need for capable women and the desire to maintain traditional roles.

The Changing Role of Women in WWII

It is possible to see the changing role of women through primary sources of the time. The film Women are Warriors from 1942 outlines the many different ways in which women were involved in the war effort. This film places considerable focus on the domestic tasks of women during this time, such as caring for children and sewing clothing (1:30-2:00). However, it also shows shots of women training and marching like soldiers, and discusses the manual labour such as farming and even manning anti-aircraft guns (3:25). An article by Elinore Herrick from The New Leader discusses a newly implemented program of women working in shipyards. The author praises the success of the program, and the women participating. Of particular note is that the women are not allowed to wear makeup or jewellery for safety reasons, and must also wear fairly masculine safety gear. However, the author emphasizes that the women are experimenting with creams to protect their skin, and that they have a comfortable restroom with nice furniture. This attempt to emphasize the remaining femininity in a typically masculine job contributes to the idea of anxiety surrounding women’s roles.

World War II afforded women a larger role outside of the typical household management expected of them at the time. However, the expectation was that after the war, women would return to the role of housekeeper and restore the status quo (Smith and Wakewich, 58-59). According to Smith and Wakewich, the necessity of drawing women into the workforce had to be balanced with “concerns about women’s capacity for industrial labour and the general public’s anxiety about women’s expanded public role both as breadwinners and consumers” (60). The reliance on women both as a practical source of labour, and also as symbols of social stability created cultural anxiety (Hegarty, 113) and further necessitated a drawing of cultural boundaries between the proper woman who did her duty, and the woman who overturned societal norms. This defining of roles often intertwined with control of sexuality and created a divide of patriotic women and promiscuous women. The difference between them being their apparent acceptance or rejection of cultural norms and thereby the risk they posed to traditional ideals after the war was over (Hegarty, 115). Control and use of women’s bodies and sexuality during the war is a common theme that Smith and Wakewich, and Hegarty touch on. There was increasing pressure on women to occupy a more traditionally masculine position in order to aid the war effort and be seen as patriotic, but only so long as they did not disrupt cultural norms more than was necessary. This balancing act was adopted by the government in order to get the labour that they needed while alleviating cultural anxiety around morality (Smith and Wakewich, 61). It also had to be adopted by women, who could suffer the personal repercussions of being deemed immoral, as “‘promiscuous’ female sexuality became a prime target during wartime” (Hegarty, 115).

Powerful Characters

There are two notably powerful female characters in Triumph Comics no. 21. These are Nelvana of the Northern Lights, the titular character of her comic, and Sally Dunlop who is the protagonist of “Air Woman”. Both characters are shown in their comics to be smart and physically capable, and they come to the rescue of the male characters in their respective comics.

Fig. 1 Adrian Dingle, panel from “Nelvana of the Northern Lights” Triumph Comics. no.21, Aug/Sept 1944, Bell Features, p.2

Nelvana is significant in that her comic is the first to appear in this issue, and she is featured on the cover. Her comic was serialized as well, indicating that she was perhaps a popular character used to draw readers to buy the comic. This issue contains Chapter Three “The Lair of the Devil Fish” of the larger story “Nelvana of the Northern Lights and the Ice Beam”. From the beginning of this chapter, Nelvana is placed as the hero, with the recap of the previous chapter stating that Nelvana has just rescued one of the male characters, Silas, from a monster (Dingle, 1). From that point, Nelvana leads the police sergeant and Silas in investigating. In the image above (fig. 1), Nelvana’s physical strength is highlighted. She is shown in a powerful pose, even breaking out of the panel frame. She has dynamic lines around her, and faces front while the male characters have far less focus on them. Nelvana’s quick thinking also allows them to track the monster to the villains lair (Dingle, 3). Nelvana does present as typically feminine, she has long hair and wears a skirt, however her body is never seen as weak, and her physical appearance is not mentioned except in relation to her super powers. Based on Nelvana’s importance within the issue, she was clearly a successful character. With that in mind, the assumption can be made that readers at the time were receptive to such a powerful female character.

Sally Dunlop, of “Air Woman” is presented similarly to Nelvana. One important difference is that while Nelvana is very obviously a fictional character, “Air Woman” begins by situating the comic in its WWII context “The first Canadian Women’s Service, formed on July 2, 1940 was organized to release manpower for aircrew duties” (Lazare, 38). This adds weight to what takes place in this comic, as Sally Dunlop and the events of the comic are positioned as a more real-world situation. She is clearly meant to present an inspiring figure through her actions. Sally Dunlop represents an example of Hegarty’s “patriotic woman”. Like Nelvana, Sally Dunlop presents as typically feminine. In fact, she and Nelvana look quite similar. Again, like Nelvana, her body is never objectified. She is shown in action, running to save soldiers from a crashed plane, and then physically moving rubble in order to lift the soldiers to safety (Lazare, 40-41). She is even presented with a medal of honour “Distinguished Service in the Face of Danger” (Lazare, 41). Given the real-world context of this comic, Sally Dunlop being shown as smart and capable in the face of danger is very impactful.

While it is impossible to say what the intentions of the authors of these comics were, it is safe to assume they wanted their comics to sell. Therefore, the representation of both Nelvana and Sally Dunlop certainly indicates that strong and capable female characters were at least somewhat accepted and encouraged. Both comics do however maintain the physical appearance of femininity for the characters, similarly to Herrick’s article on female shipyard workers emphasizing the use of creams and typically feminine comforts. This indicates that while these comics do not balk at representing powerful women, there were still certain cultural expectations in place that they had to conform to.

Damsels in Distress

There are multiple examples of the damsel in distress within this comic. Gloria Gates from “Captain Wonder” and an unnamed character from “Tang” who is referred to mostly as “the girl” are two examples of this type of character. These two characters are shown being rescued by men, and never take much action of their own within the narrative. They are also both often depicted being held or restrained in some way.

Fig. 2. Ross Saakel, panel from “Captain Wonder” Triumph Comics. no.21, Aug/Sept 1944, Bell Features, p.20

The image to the left (fig 2) depicts Gloria Gates being kidnapped in “Captain Wonder”. She is being physically held by the male villain, and she makes no attempt to fight back, only being able to call for help. Her body is objectified here, with her skirt being pulled up slightly to reveal the top of her stocking, and her body positioned in a way to display her curves, even though she is being violently kidnapped. The male villain is what the eye is first drawn to in this frame, making Gloria even less important. Later in the comic, Gloria is shown tied up and with her shirt pulled down to expose her shoulder and the top of her breast. She remains tied up until Captain Wonder saves her, and even then her shirt remains pulled down in the last frame she is present in (Saakel, 24). The main purpose she serves in the narrative is to give Captain Wonder a reason to go and fight the villains. She is never shown in action, except for fleeing from the villains after being rescued, and her body is objectified throughout.

The unnamed “girl” from “Tang” serves much the same purpose as Gloria Gates. She is first shown tied up and gagged by the villains which the main characters are investigating, and she provides justification for the protagonists to fight the villains. After being rescued, the girl is shown being carried on horseback by the protagonists and providing them with one clue to find the rest of the villains (Kalbach, 14-15). In fact, this clue is only one of two sentences the girl speaks. It is also not a complete sentence, only a fragment description of one of the villains. The other sentence is simply confirming that the protagonists had reason to fight the villains. Like Gloria Gates, the girl serves mainly as a justification for the violence that the male protagonists commit.

Narratively, neither of these female characters are unique or vital. They could both be swapped with any number of reasons for the protagonists to leap into action and the narrative could be essentially the same. These characters both represent women who are entirely reliant on men. In the context of the time, this could be a statement on the role of women. It certainly indicates that as a society this view of women was not entirely unacceptable.

Conclusion

This comic offers insight into the effect that the changing role of women had on culture at the time. There is no unified stance on the role of women within this comic, just as the role of women was a tension point within the culture at the time. The characters presented have very different roles within their respective narratives, with varying importance. Similar techniques are used to show power or weakness in the female characters. In comparing these characters, it is possible to see how the patriotic woman was represented, as well as how women were represented as weaker and needing the support of men. Neither type of woman is represented as inherently bad, and so it is safe to assume that both were culturally present at the time. Overall, the varied representation of female characters within this comic is an interesting view into cultural ideals of the time.

Works Cited

  • Dingle, Adrian. “Nelvana of the Northern Lights and the Ice Beam. Chapter Three: Lair of the Devil Fish.” Triumph Comics, no 21, Aug/Sept 1944, pp. 1-7. Bell Features, Library and Archives Canada, http://data2.collectionscanada.gc.ca/e/e447/e011166652.pdf.
  • Hegarty, Marilyn E. “Patriot Or Prostitute?: Sexual Discourses, Print Media, and American Women during World War II.” Journal of Women’s History, vol. 10, no. 2, 1998, pp. 112-136
  • Herrick, Elinore M. The Myth of the American Glamour Girl: A Real Story of Women in War Industry: Millions in Factories Solving Manpower Crisis, Mrs. Herrick Says. vol. 26, New Leader Publishing Association, New York, N.Y, 1943.
  • Kelbach, René L. “Tang.” Triumph Comics, no 21, Aug/Sept 1944, pp. 10-16. Bell Features, Library and Archives Canada, http://data2.collectionscanada.gc.ca/e/e447/e011166652.pdf.
  • Lazare, Jerry. “Air Woman.” Triumph Comics, no 21, Aug/Sept 1944, pp. 38-41. Bell Features, Library and Archives Canada, http://data2.collectionscanada.gc.ca/e/e447/e011166652.pdf.
  • Saakel, Ross. “Captain Wonder.” Triumph Comics, no 21, Aug/Sept 1944, pp. 19-25. Bell Features, Library and Archives Canada, http://data2.collectionscanada.gc.ca/e/e447/e011166652.pdf.
  • Smith, Helen E., and Pamela Wakewich. “Regulating Body Boundaries and Health during the Second World War: Nationalist Discourse, Media Representations and the Experiences of Canadian Women War Workers.” Gender & History, vol. 24, no. 1, 2012, pp. 56-73.
  • Women Are Warriors. Directed by Jane Marsh. National Film Board, 1942.

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