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Violence Against Women in Active Comics No.9

Active Comics, ENG810 Fall 2018 Section 011, , , ,

 

Copyright © 2018 Anjali Jaikarran, Ryerson University

Introduction

Women are multi-faceted individuals who play many roles and undergo an abundance of experiences, however, society, on many occasions tends to delegate them to roles and experiences far beneath them. In the ninth issue of  The Active Comics (1943), two particular comics portray women being subjected to violence at the hands of another. In ‘The Brain: The Scarlet Zombie’, the villain threatens to strangle a female character if she does not relinquish information the villain believes she has. He follows through with his threat, wrapping his hands around her throat as the woman is paralyzed with fear (Bachle 24). Earlier, within the same comic, the villain’s monstrous creation, the Scarlet Zombie is seen

M, Harn. Panel from “Thunderfist.”
Active Comics, No. 9, January 1943, p. 58. Bell Features Collection,
Library and Archives Canada.

roughly grabbing the woman and tossing her across the room (22). In ‘Thunderfist’, another superhero comic, the hero’s love interest is taken captive by a Japanese spy when she attempts to follow up on a lead for a story she is pursuing. The villain binds her to a chair with rope to keep her from escaping so that he may use her as leverage (Harn 58). Examples from the reality surrounding women’s contributions and tribulations during WWII will be drawn on to shed light on the discrepancy between reality and the portrayals of women in the comics as a reflection of the value of women in Canadian society during the 1940s.

Women’s Contributions During the War

        The Second World War focuses on fearless soldiers laying down their lives on European soil for their country. Men are immortalized in history for their contributions, while the women are overshadowed by their counterparts. On the homefront, women inhabited every occupation possible to provide aid during the war. Stanley Hawes’ film, Homefront (1944), a propaganda film intended  to boost morale and incite patriotism, depicts women taking part in hospitality endeavours: anywhere from running canteens for weary soldiers to forefronting blood transfusions in the medical field as nurses. These women are said to be  ‘the living link between home and the inferno’ (Hawes, Stanley). In this propaganda film, women were seen as important and crucial to the war effort; without the aid of these formidable women, soldiers would not have been able to fulfill their duties to their nation. In the story, ‘Thunderfist’, the captured woman is a reporter who is following a lead on a possible story related to the war (Harn 58). Although her contribution is of a different sort than those aiding in domestic or medical affairs, her job lands her in a dangerous position as the captive of a Japanese spy. If the creators and illustrators of the comics had wanted to draw parallels alongside what was occurring within the real world, they would have created strong female heroines instead of male ones. They could have also created ones that worked alongside the male heroes as their equals. This is not the case with the female heroine in ‘Thunderfist’ as the woman is forced to wait for the male hero to come to her rescue, insinuating that she is incapable of saving herself, delegating her to a role without allowing her the chance to prove herself.

       On the front lines, women in WWII made an equally significant impact: “About 350, 000 women served in the [American] military… 14 000 were WACs, 100, 000 were WAVEs, 23, 000 were marines, 13, 000 were SPARs, 60, 000 were Army nurses, and 14, 000 were Navy nurses” (Campbell 251-253). While these numbers are not as staggering as those of men that enlisted during the war, however, it proves that women were not insignificant on the warfront. The most noteworthy reason for women choosing to enlist were “patriotic and emotional reasons” (Campbell 254). They risked their lives, left their family and friends behind to serve their country and help end a war that tore them from safety and normalcy. Propaganda was also essential in their involvement, there are many posters and films geared towards enlisting these brave and fearless women to the war front. One example is a propaganda film titled, ‘I’m the Proudest Girl in the World,’ which is a Hollywood-esque musicale that gives further insight into the duties of women during the war (Roffman, Julian). This musicale number can be seen as glamorous and whimsical, in which in the women are presented as driven, eager, and pragmatic. The discrepancy lies within the comics, where women are depicted as weak and subservient, waiting to be saved from one man (the villain) by another (the hero). In reality, women went towards the danger alongside the men as real life heroines.  Another propaganda piece is a poster titled, ‘The Spirit of Canada’s Women’, this poster depicts fierce women in uniforms whom are flagging a woman on a horse (Odell, Gordon K.).  The woman on the horse is assumedly Joan of Arc. This furthers the idea that the women portrayed alongside her are equally as strong and brave. However, in the comics, when they try to portray strength or bravery, the villains easily force them to back down, either through physical or verbal abuse; enforcing the ideal that men are the dominants while women are the submissives as a reflection of the societal views of the era. The Canadian government would have been desperate and in need of additional support if they were advertising for the enlistment of women in the war, thus, the portrayals within the propaganda film and poster are purely circumstantial as it benefited what was necessary at the time. The contributions made by women both on the home front and the front lines were influential to the war effort, the stereotypical portrayals of them in the comics do them a great disservice. Furthermore, the sexual violence they were subjected to is not only a slight against their contributions but their humanity as well.

Sexual Violence During the War

      Sexual violence against women  is known to be a consequence of war. ‘A Dictionary of Gender’ defines violence against women as:

   “‘any act of gender-based violence that results in, or is likely to result in, physical, sexual or psychological harm or suffering to women, including threats of such acts, coercion or arbitrary deprivation of liberty, whether occurring in public or in private life’. Such violence is widespread in both the public and private sphere, and may take the form of domestic violence or rape in war’” (Griffin, Gabrielle).

     Throughout the course of the war, women were subjected to sexual violence by American, Canadian, British, French, and Soviet soldiers alike. The exact amount of rapes is unknown but they could range from tens of thousands to millions, which were incited in no small part by a desire for revenge against the Germans for their assault of ‘non-Aryan’ women in the East (Matthews, Heidi). The idea itself of revenge by means of committing the same heinous acts perpetrated by the Germans gives strong insight into the value of women by men. Women, both in the comics and in the real world were merely token pieces used by men for their own convenience. In both ‘The Brain: the Scarlet Zombie’ and ‘Thunderfist’, the female characters are used by the villain for their own means. In ‘The Brain’, the woman is a source of information for the villain, when he does not get what he

L. Bachle. Panel from “The Brain: The Scarlet Zombie.”Active Comics, No. 9, January 1943, p. 24. Bell Features Collection, Library and Archives Canada.

desires, he throttles her in retaliation (Bachle 24). While in ‘Thunderfist’, the woman is used to both lure the superhero into the villain’s clutches but also to stop her from foiling his plans to blow up a ship harbour (Harn 58).  In a way, the women pose a threat to the villains as they need the women to commit their evildoing, but without their cooperation, the villains resort to physically assaulting the women to elevate their role as the antagonist.

    This does not justify the sexual violence experienced by women in reality, but only serves to make the depictions in the comics more problematic. In her dissertation, ‘Silenced Voices: Sexual Violence During and After World War II’, Cassidy Chiasson states:  “…sexual violence should not be brushed off as a consequence of this type of war since it is a problem with long-lasting negative effects on its victims. Sexual violence appeared in many forms during World War II, not just as rape. Mass rape was a major problem, but women also fell victim to sexual violence because of complicated situations and circumstances they were placed in.” (Chiasson 1) This conclusion makes the violence illustrated in the comics insensitive, it trivializes their suffering for the sake of creating an entertaining storyline. Statistically, psychological symptoms are more severe and frequent in victims of sexually related violence in war in comparison to non-sexual violence in war: “Results of the current study revealed that rape survivors reported greater severity of avoidance and hyperarousal symptoms compared to survivors of other war-related traumas; these symptoms are between 0.29 – 0.41 higher for victims of sexually related assaults in comparison to other war related traumas.” (Kuwert et al., 1062)  These statistics suggest that the comic creators are only mocking and devaluing the women who had become victims of sexual violence during the war. If they had any concern for women, they would have excluded it or allowed the women to save herself and exact revenge on the villain, but she remains in the clutches of the villain and her trauma until the hero rescues her.

     The article, ‘A Content-Analysis of Race, Gender, and Class in American Comics’ discusses the concept of benevolent sexism and its relation to submissive women and violence in comics: Benevolent sexism refers to delegating women to roles that are stereotypical and confining. These roles insist that the women have the protection of men. Furthermore, portrayals of violence against women has declined in comics but the ideas of benevolent sexism and the ‘damsel in distress’ still remain ( ‘A Content-Analysis of Race, Gender, and Class in American Comics’). However, this is only done in an effort to evoke a reaction from the male hero as they hold a significant relationship with him as a love interest or a friend.  In reality, circumstances forced women to learn agency and the find means to survive: untold numbers of women in the “German-occupied territories found themselves forced into survival prostitution. Due to the atrocious living conditions and strict legal regime, women and girls of all ethnicities resorted to this… They bartered sex for food, shelter, documents, and jobs,” (Jolluck 523). Thus, being in said state (at the ‘mercy’ of the villain) leaves the the female character no choice but to wait for the hero to come to save her as society typically has women in roles that do not allow them the agency to fend for themselves.

      Similarly to reality of the war, the villains are violent towards the women in both comics in an effort to elicit feelings of degradation and submission from them. Chiasson illustrates again the widespread severity of the sexual violence in WWII, “One must understand that this type of sexual brutality and dominance over women occurred on almost every side, and was not limited to one or two militaries. For example, when the Germans entered the Soviet Union, they raped, pillaged, and acted with extreme brutality,” (Chiasson 1). By degrading and hurting the women that are valued by the male heroes, the villains are exacting revenge on the heroes. This is because during the era, a woman’s value was seen in relation to the value she had to a man, and this still occurs today. Based on the values of the era, in her helpless state, the woman is at her most useful state as she elevates the status of both men. She elevates the villain when he captures her because it serves to make him more dastardly. While, when she is saved by the hero, she glorifies his heroic stature. Sexual violence is not to be trivialized as the victims suffer from severe physical and psychological trauma. The violence within the comics display a lack of concern regarding how female readers would react to it while the violence during the war occurred simultaneously; women both fighting for their country and their lives.

Conclusion

     The comics, ‘The Brain: The Scarlet Zombie’ and Thunderfist’ within the ninth issue of the Active Comics portray women being subjected to violence by the male villains. The female character in ‘The Brain: the Scarlet Zombie’ is physically assaulted by both the villain and his creation (Bachle 24). While, in ‘Thunderfist’, the woman is tied up to prevent her escape in the midst of doing her job as a reporter (Harn 58). These women are forced to become victims in these comics as the values of society in the era have bleed into these stories. Their contributions upheld the war yet they were undervalued and assaulted in both media depictions and real life as a result of normalization of said behaviour. In the 1940s, it is perpetuated, whether in reality or within a fictional story, a women’s value is tied to a man; based upon how she builds his masculinity. In truth, women are nothing less than the resilient, fierce, and exemplary individuals they strive to be in the face of adversity; whether it is it is in war or in everyday life.

 

                                                                                          Works Cited

Bachle, L. “The Brain: The Scarlet Zombie” Active Comics, no. 9, Bell Features, January, 1943, pp. 20-28. Canadian Whites Comic Collection, 19-41-1946. RULA Archives and Special Collections, Ryerson University, Toronto, Canada.

Bachle, L. Panel from “Thunderfist.” Active Comics, No. 9, January 1943, p. 58. Bell Features Collection, Library and Archives Canada.

Campbell, D’Ann. “Servicewomen Of World War II” Armed Forces & Society, vol. 16, no. 2,     Jan. 1990, pp. 251–70. Crossref, doi:10.1177/0095327X9001600205.

Chiasson, Cassidy L. Silenced Voices: Sexual Violence During and After World War II.   University of Southern Mississippi, Aug. 2015.

Facciani, Matthew, et al. A Content-Analysis of Race, Gender, and Class in American Comic     Books. Vol. 22, no. 3/4, 2015, pp. 216–26.

Griffin, Gabriele. “Violence against Women.” A Dictonary of Gender Studies, Oxford   University Press, 2017,                                                                                                                                               http://www.oxfordreference.com/view/10.1093/acref/9780191834837.001.0001/acref-9780191834837-e-410.

Harn, M. “Thunderfist.” Active Comics, no. 9, Bell Features, January, 1943, pp. 54-63.     Canadian Whites Comic Collection, 19-41-1946. RULA Archives and Special Collections,   Ryerson University, Toronto, Canada.

Harn, M. Panel from “The Brain: The Scarlet Zombie.”Active Comics, No. 9, January 1943, p. 24. Bell Features Collection, Library and Archives Canada.

Hawes, Stanley. Home Front. National Film Board of Canada, 1940. www.nfb.ca,                             https://www.nfb.ca/film/home_front/.

Jolluck, Katherine R. “Women in the Crosshairs: Violence Against Women during the     Second World War.” Australian Journal of Politics & History, vol. 62, no. 4, Dec. 2016, pp.     514–28. onlinelibrary-wiley-com.ezproxy.lib.ryerson.ca, doi:10.1111/ajph.12301.

Kuwert, Philipp, et al. “Long-Term Effects of Conflict-Related Sexual Violence Compared   with Non-Sexual War Trauma in Female World War II Survivors: A Matched Pairs Study.” Archives of Sexual Behavior, vol. 43, no. 6, Aug. 2014, pp. 1059–64. Link-springer-     com.ezproxy.lib.ryerson.ca, doi:10.1007/s10508-014-0272-8.

Matthews, Heidi. “Allied Soldiers — Including Canadians — Raped Thousands of German   Women after Second World War: Research.” National Post, 8 May 2018,                                             https://nationalpost.com/news/world/allied-soldiers-including-canadians-raped-     thousands-of-german-women-after-second-world-war-research.

Odell, Gordon K. The Spirit of Canada’s Women. 1942,                                                                                 https://www.warmuseum.ca/collections/artifact/1027798/. Canadian War Museum   Archives (online).

Roffman, Julian. ‘I’m the Proudest Girl in the World!’: A WWII Recruitment Film. 26 Feb. 1944,      https://www.cbc.ca/archives/entry/im-the-proudest-girl-in-the-world.

 

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.

Romanticizing the War For Children Through Active Comics #15

2017 Canadian Whites, Active Comics, Active Comics, Children's Books and War, ENG 810-011 Lorraine Janzen,

© Copyright 2017 Leya Jasat, Ryerson University

Introduction to the Canadian Whites

Fig1. Active Comics. No. 15, February 1942, Commercial Signs of Canada: Cover. Bell Features Collection, Library, and Archives Canada.

Bravery, heroism, and patriotism are some of the themes found in the Canadian Whites comic books. These themes found in comics for children were also found in the war itself. Specifically, in number 15 of the Active comics (January 1944) series, one can see these themes being portrayed and projected on to the readers (children).

The influence of the great war on children was greatly underestimated. However, adults, older brothers, and uncles had started to disappear from the lives of these children when the war started and these children were just as much involved (Cook). This exhibit looks at the use of comics and their demand as a platform for grooming children in the 1940’s. These comic books were not for the sole purpose of grooming children to support the war but a lot of the stories and advertisements within the comics represent the war and patriotism to Canada. The stories in this comic book usually end happily when the heroes defeat the “enemies”, teaching children that safety, victory, and happiness can be achieved from helping with and winning the war in whatever ways possible.

Summary

The Canadian Whites are a series of comic books made on white paper with black ink during the second World War. Canada was unable to purchase non-essential goods and comics were one of those goods. Canadian children needed something to do/enjoy and the popular American colored comics were not available. Since this was the case, Canadian authors and illustrators including Adrian Dingle, Frank Keith, Leo Bachle, Kurly Lipas, Harry Brunt, Paterson, Al Cooper, and Jon Darian contributed to Canadian Comics which were called the Canadian Whites and were for the benefit and entertainment of children. These comic books consist of continuing series as well as intermittent stories that take up one or more pages. The stories are told in boxes mostly through drawings and a few words called sequential art. The comic books also include advertisements for readers to buy other Canadian comics, war stamps, toys, and notices/challenges for members.

The comic book specifically being discussed in this exhibit is number 15 from the Active comics (January 1944) series. In this comic book, the representation of guns is prominent as it is portrayed as an asset in a few of the stories and it has a full-page advertisement for a toy anti-aircraft gun as well.

Grooming children

 Adults were disappearing from children’s’ lives after the war began expecting them to help around the house, working for money, and purchasing war stamps (Cook). One of their primary sources of entertainment and one of the few activities for children was reading comics. At that time, war toys were becoming normalized (Fisher) and one of the ways this was possible was through advertising them in comic books and portraying gun users as the ones who succeed in the comics. These comics showed children who their enemies are by showing them Canadian heroes fighting people of the enemy countries. Children who were from the enemy countries were bullied once the children learned who Canada was fighting in the war, as explained by Galway “Canadians of German or Italian descent were not allowed to participate in war efforts, were teased, taunted, or assaulted” (Galway).By closely examining the stories and images, contrary to what I expected there is only one story that has the hero handling a gun. “Active Jim” is the only story that shows a hero using a gun while every other story that contains guns has them in the hands of the enemies. In “Active Jim” the police officer is handling the gun to stop a driver while “Dixon of the Mounted”, “King Fury and the Robot Menace”, “Capt. Red Thortan” and “The Brain” have the heroes fighting with their fists, knives, or swords.

The representation of guns in the comics were being used to groom the kids to want to be soldiers especially considering that the only advertisement directed to children in this comic book is for a gun. The advertisement itself has an image of a soldier with a gun above the image of a child with a gun. Children tend to do what they see and if they are seeing an image of a soldier alongside a child with a gun they will want to imitate the soldier first of all and then, of course, the image of the child. The representation of guns seen through the comic strips and advertisement is just one of the ways in which toy guns were being normalized for children in the twentieth century.

Guns were becoming normalized for children in the twentieth century, with the primary cause being the World War. They were being sold through such captivating advertisements that the children were excited to receive toy guns for Christmas and the guns were becoming consumer items (Brown). At the time children wanting to play with toy weapons was a new concept and even then the guns were used to encourage them to become familiar and skilled with weapons for the war (Brown). At the cost of the children’s childhood, weapons were being normalized so that the children could contribute to the war with more skill and enthusiasm (Brown).  Another factor for guns becoming normalized was economic, as described by Brown:

“Businesses heavily marketed cheap, mass-produced arms in this period. Gun manufacturers and retailers employed several aggressive sales techniques, such as emphasizing that using firearms could inculcate manly virtues, and redefining some weapons as toys to make them into acceptable and desirable consumer items. (Brown)”

The fact that guns were being produced in a mass amount that was benefiting the economy gave more reason for encouraging children to buy and play with them. The results of gun use being normalized for the war was not very smart as weapon use was not enforced well enough (Brown). Weapons were being misused and there were little to no laws on mishandling them. The laws that were placed were broken and were not enforced (Brown). Guns were becoming a danger to Canadians but were still being encouraged for the sole purpose of the children growing up to fight and prosper in the war.

Active comics and romanticizing guns

“Active Jim” is the only story that shows a hero using a gun. On pages 33-35 in the 15th edition of the Active comics the story of “Active Jim” and his assistant encounter a sanding crew mishap. Jim and a police officer use a gun to take down the driver who is sprinkling fine glass instead of sand. In this story, the reader is being taught that using a gun can lead to victory and justice. On the other hand, there are multiple stories with the enemies handling guns like in “Dixon of the Mounted” by R.L. Kulbach on pages 1-7 of the Active comics. In this story, the Japanese officers attack and capture Dixon using their guns to keep him from escaping. Another example is “King Fury and the Robot Menace” by Kurly Lipas on pages 22-28 of the Active comics. In this story, a doctor builds a robot and the Germans successfully steal it with the use of their guns.

These stories not only show the obedience and power a person with a gun can have but also teach the readers about Canada’s enemies. The enemies in this comic book are clearly shown to be of a different racial background through their facial features and butchered English dialogue. They were illustrated to portray the people Canada was at war against. This showed readers who their enemies were since they were also from Canada and in order to show patriotism to Canada, they were made to believe in having the same enemies as their country. The children of war were taught who their enemies were and how to treat them from such a young age. They were being groomed to make these people their enemies and dislike them through the beliefs of their country without their own intellect. In the same way, these kids were learning to romanticize the acceptance of self-sacrificing death as a price of heroism for their country (McKenzie). War was becoming their way of life.

Anti-Aircraft Gun advertisement. January 1944, Toronto, Ontario: Bell Features and Publishing Company Limited. Special Collections, Library and Archives Canada.

Apart from stories in this comic book, there is also an advertisement that strikes as utterly surprising. The advertisement is for an automatic anti-aircraft toy gun for children. It is so bluntly placed on the entire back cover (recto and verso) of the comics book. As a reader, it takes one by surprise that such a violent toy would be advertised to children. The way it is advertised is quite disturbing as well because it has an image of a soldier holding and aiming a gun similar to the toy one while there is an image of a child right underneath playing with a toy gun that looks like the one the soldier is holding. Some of the words used to capture the child’s attention are ” JUST LIKE THE REAL THING! SHOOT IT FROM THE TRIPOD, SWING IT INTO ANY POSITION SIMPLY TURN THE HANDLE AS FAST AS YOU LIKE FOR LOUD RAPID FIRE ACTION!” This advertisement is a great example of how guns were being normalized for children in such a blunt way, grooming them for war at the time they are the most vulnerable, their leisure time.

These themes of heroism, bravery, and patriotism can be seen in the comics and everything else surrounding the children of the war. In number 15 of the Active comics (January 1944) series one can clearly see the representation of guns as a primary war weapon as well as the enemies of Canada that the children soon learn to accept as their own enemies. Comics were used as a platform to groom children into accepting and wanting to fight for Canada. They used the love of comics and mixed in patriotism to Canada, Canada’s enemies, and guns. All this by capturing the children’s attention while teaching them who to like, how to behave, and to work for the war.

Works Cited:

Brown, R. Blake. “Every boy ought to learn to shoot and to obey orders” The Canadian Historical Review, vol. 93, no. 2, 2012, pp. 196-226

Cook, Tim. “Canadian Children and the Second World War.” The Canadian Encyclopedia. N.p., 04 Dec. 2016. Web. 09 Feb. 2017.

Fisher, Susan R. Boys and girls in no man’s land: English-Canadian children and the First World War. Toronto u.a.: U of Toronto Press, 2011. Print.

Galway, Elizabeth A. “Border Crossings: Depictions of Canadian- American Relations in First World War Children’s Literature.” The Lion and the Unicorn, vol. 39, no. 1, 2015, pp. 100-115 Research Library

Mckenzie, Andrea. “The Children’s Crusade: American Children Writing War.” The Lion and the Unicorn  (2007): 87-102. Web. 4 Mar. 2017.

 

WOW Comics No. 6: A Window to Past Culture and Ideologies

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

© Copyright 2017 Kristian Saflor, Ryerson University

An Academic Analysis:

Comic books in Canada during the second World War served as forms of entertainment for children. With its use of illustrations, stories, and advertisements, Canadian comics managed to attract children into reading them as it provides them with content that serve entertaining and fun through the eyes of children. However, comics are more than just forms of entertainment, but rather they are historical artifacts. Bell Features’ comic WOW Comics No. 6 contains what would be considered entertaining for children at the time; superheroes, advertisements for toys, contests, and eye-popping illustrations, but examining the content and analyzing the way it resonates with its audience suggests what culture was like at the time the comic was produced.

This exhibit will explore comics as a form of media altogether and emphasize the role of comics as an expression of cultural views and ideologies as opposed to viewing comics simply as forms of entertainment. The research provided throughout this exhibit seeks to correlate culture and entertainment, and how both of these aspects serve to educate contemporary readers of the historical context of when such comics were produced to the public. This exhibit will answer the questions; what does WOW Comics No. 6 provide besides entertainment for contemporary readers? And why is it important to view WOW Comics No. 6 more than just entertainment?

Reputation and Underlying Significance of Comics:

Comics, as compared to literary books, textbooks, and even film, are generally regarded to be inferior forms of entertainment, or simply just disregarded altogether. Mark Berninger states that comics have been largely marginalized by critics and academics (4), thus suggesting that comics have little to no value for academic analysis and examination. This notion altogether indicates that comics, to a vast majority of scholars and critics, are generally looked down upon. It is difficult to determine which specific aspects of comic books hinder scholars and critics to examine the medium as academic research and it is tedious to come to an overall general conclusion. It is important to view comics more than just forms of entertainment. Berninger emphasizes that comics are an extension of ourselves and uniquely suited to describe the human experience (3). With this in mind, examining WOW Comics No. 6 requires one to reflect upon the context of which it was produced and created. To expand on the idea of the human experience and how it relates to comic books, comics are heavily influenced by the culture it stems from, in regards to WOW Comics No. 6, the stories and undoubtedly, the advertisements are strongly influenced by wartime during the 1940s.

A Window to the Past:

Context at the time of a comic’s development and production is crucial for understanding set ideologies and values. Casey Brienza argues that there is an urgent need to study the context of a comic at the time of its production (107). WOW Comics No. 6 presents shocking, and somewhat comical imagery towards the depiction of Adolf Hitler, racist stereotypes, and misogyny. To modern readers, these representations may be deemed appalling and deeply offensive in many ways, but that was not the case for Canadians at the time WOW Comics No. 6  was produced. The offensive depiction at the time was deemed normal and part of culture, it was a different time, and different views were established in Canada during the 1940s. Annessa Ann Babic emphasizes that comic books, much like movies and music, are created to sell, and that they are sold according to consumer demands and preferences (111). Drawing from this notion, WOW Comics No. 6’s content is derived from consumers’ wants and preferences at the time of production, Babic states that the public makes demands on what themes should be presented in comics, and how the pages of a comic book provide a glimpse of the culture of when the comic was produced (111).

With this in mind, analysis of comics requires acknowledgement of culture and ideologies, in this case, the content presented within WOW Comics No. 6 reflects the desires and expectations of the people living in that era. Culture and ideologies within a country changes over time, a comic book produced at a time where war played a huge impact globally gives modern readers a small fragment of what culture was like at the time.

Comics, Wartime, and the Everyday:

The material and content of WOW Comics No. 6 is evidently influenced by wartime as it is clearly represented in sections such as the contest titled “What Would You Do With Hitler and his Gang?”. With the second world war in full effect, WOW Comics No. 6 implemented themes of war and nationalism in both the comic’s stories and advertisements. Looking at comics as a historical artifact, the contents and themes presented within the comic evidently identifies itself with what was going on in Canadian society.

With stories such as “Dart Daring and the Horror in the Hills” by E.T. Legault, and advertisements within the comic such as toy airplane advertisements, the notion of war and wartime playing a huge impact on Canadian society managed to find its way in merchandise and entertainment. WOW Comics No. 6 serves as a window to society at the time of the second world war, or as Frank Bramlett defines it, as the everyday in that the comic portrays notions of war and conflict through its superhero narratives. Bramlett emphasizes the notion of the everyday and the quotidian as presented in comic books through its story and characters. As Bramlett states, comics illustrates the quotidian to a high degree, the representation of the everyday in comics become reflexive to the reader, supporting the everyday through use of characters, dialogue, settings and narratives (247).

The everyday as shown in Dart Daring and Whiz Wallace presents the reader with the story’s heroes in a state of conflict and some sort of call of duty. The concept of the everyday expressed though the characters in the comic links to the everyday life of readers at the time. The stories and narratives presented in both “Dart Daring and the Horror in the Hills” and “Whiz Wallace and Two Worlds at War” evidently reflect the issues people had to deal with during the war. The distinction between the heroes and villains presents a stark contrast between the two groups where the villains are dehumanized and stereotypically labelled as seen in “Dart Daring”.

Comics are not only forms of visual entertainment for children, but it captures worldviews and culture through its presentation of stories, narratives, and characters. The link between war and conflict in “Dart Daring and the Horror in the Hills” and war and conflict in the context of the everyday of the readers during wartime indicate that comics do indeed mirror and reflect culture and ideologies at the time of the comic’s production. Comics encapsulate the everyday of the readers through its depiction of plot development, characters and character visuals. Looking more closely at “Dart Daring and the Horror in the Hills”, the antagonistic group, which appears to be Natives, are identified as “savages” (Legault 6). The name in itself suggests stereotypical views towards their enemies much like propaganda posters presented to the public. The advertisements within WOW Comics No. 6 clearly mirror propaganda posters with its stereotypical, comical and antagonistic view towards Germany, Adolf Hitler, and the Japanese. Bramlett emphasizes that comics rely on the reader’s sense of the everyday; comics incorporate culture’s view of the everyday into its characters, story and narratives (258).

Figure 1. E.T. Legault. Panel from “Dart Daring.” WOW Comics, No. 6, March 1942, p. 6. Bell Features Collection, Library and Archives Canada.

In regards to history, WOW Comics No. 6 mirrors societal views and ideologies and provides contemporary readers a brief understanding of culture and ideologies at the time it was produced. For contemporary readers, WOW Comics No. 6 demonstrates the reality and everyday notions of a country influenced by war. It signifies the way war has affected communication and depiction of people towards its readers, and for us contemporary readers, it signifies a tiny piece of history and the culture and ideology that comes with it.

Propaganda as an Agent of Ideology:

WOW Comics No. 6 contains heavy implications of nationalism, and antagonism towards Canada’s enemies at the time. It presents an abundance of nationalistic views, and propaganda, whether it be presented in a subtle or obvious manner.“Dart Daring and the Horror in the Hills” depicts Daring’s enemies as stereotypical “Indians”, are represented as hostile and villainous, and are referred to as “savage” (Legault 3). Advertisements are of war-related merchandise or purchases such as war saving stamps, and a contest titled, “What Would You Do With Hitler and his Gang?”, which bluntly antagonizes and ridicules Hitler and the Japanese, which they are referred to as “dirty japs” (32). The notion of propaganda presented in WOW Comics No. 6 and how it is presented gives contemporary readers an understanding of how communication was handled during the 1940s in Canada.

Figure 2. “What Would You Do With Hitler And His Gang?” Contest. Panel from WOW Comics, No. 6, March 1942, p. 32-33. Bell Features Collection, Library and Archives Canada.

With propaganda popping up in every page of the comic, it is important to explore the psychology behind propaganda in order to understand why this certain era relied on it to speak to its viewers. Ryan Jenkins discusses the concept of propaganda and who it really benefits. According to Jenkins, propaganda serves beneficial solely for the propagandist rather than the people who view it (1). With communication in mind, examining WOW Comics No. 6 requires exploration of the propagandist, Jenkins claims that the propagandist fill their needs and wants only if it furthers their ideologies (10). Propaganda plays a huge role in Canadian culture at the time, propagandist forced specific outlooks towards Canada’s enemies at the time. The question that comes to mind is, what is the significance of this in regards to comics as an agent of historical context?

Propaganda is meant to forcefully deliver the perspective and ideologies of the propagandist, because WOW Comics No. 6 is littered with propaganda, readers can interpret the perspectives and motivations behind the propaganda presented within the comic; what the propagandist is trying to communicate and what does it say about Canadian culture in the 1940s. For readers, analyzing propaganda within the comic enables us to decipher cultural outlooks on specific groups of people and the notion of war, an example of this is the representation of children’s interaction. Going back to the “What Would You Do with Hitler and his Gang” section, it is extremely difficult to deny that the outlook on Canada’s enemies are represented as overly comical, but perhaps there is a deeper message in regards to how Canadians sought to communicate with their readers. For the most part, Bell Features comics was catered towards children, the activities and stories were meant to be read and engaged with by children at the time.

Because WOW Comics No. 6 was focused on this age group, the inclusion of war related themes and propaganda suggests that Canadian culture during the second world war sought to involve children with wartime efforts in a very blunt manner, which also suggests that Canadian culture at the time made no effort to keep war discreet towards children. The inclusion of propaganda in a comic book further supports the idea that comics are an agent of historical context, as the messages being conveyed give modern readers a sense of how a country communicated to its consumers, in this case, how Canada communicated to children during the war.

WOW Comics and the Truth of Ideology:

Comic books as a whole serve as much more than what it is originally perceived as. To an extent, comic books are miniature history textbooks encapsulating a piece of history held together with paperback covers and printing paper. The comic contains Canadian ideology from the past, and provides, as well as educates readers of what culture was like at the time of the comic’s production. Perhaps most importantly, WOW Comics No. 6 encapsulates needed accuracy of Canadian ideology in the 1940s.

History textbooks and secondary sources speaking of Canadian history and views can potentially be altered to create a false image of Canada; a fragmented outlook on Canada and Canadians during the struggles and influences of war. The essentiality of the comic is that it is clear and unedited. The content is all there and everything is intact in terms of thematic elements and messages given to the reader at the time. With the lack of editing and possible fragmentation of information, WOW Comics No. 6 signifies a piece of history that is accurate of Canadian ideology.

Works Cited

Babic, Annessa Ann. Comics as History, Comics as Literature: Roles of the Comic Book in Scholarship, Society, and Entertainment. Fairleigh Dickinson University Press, December 2013, pp. 111-22. ProQuest site.ebrary.com.ezproxy.lib.ryerson.ca/lib/oculryerson/reader.action?docID=10823569

Bramlett, Frank. “The Role of Culture in Comics of the Quotidian.” Journal of Graphic Novels & Comics. December 2010, pp. 246-59. Schlars Portal Journals, journals1.scholarsportal.info.ezproxy.lib.ryerson.ca/details/21504857/v06i0003/246_trocicotq.xml

Brienza, Casey. “Producing Comics Culture: A Sociological Approach to the Study of Comics.” Journal of Graphic Novels & Comics. December 2010, pp. 105-19. Scholars Portal Journals, journals2.scholarsportal.info.ezproxy.lib.ryerson.ca/details/21504857/v01i0002/105_pccasattsoc.xml

Berninger, Mark. Comics as a Nexus of Cultures. McFarland & Company, Inc. April 2014. ProQuest, ebookcentral.proquest.com.ezproxy.lib.ryerson.ca/lib/ryerson/reader.action?docID=1594826

Legault, E.T. and Henly, J.O. “Thrilling Adventures of Dart Daring Master Swordsman.” WOW Comics, no. 6, March, 1942. Bell Features Collection, Library and Archives Canada. data2.collectionscanada.gc.ca/e/e447/e011166669.pdf

Jenkins, Ryan. “The Thin Line Between Propaganda and Persuasion.” Southern Illinois University at Carbondale. ProQuest Dissertations Publishing, 2013. December 2013, pp. 1-61. ProQuest, search.proquest.com.ezproxy.lib.ryerson.ca/docview/1524023363?pq-origsite=summon

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