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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.

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.

Themes of the Representation of Violence and War through Canadian Identity and the Portrayal of the Axis Powers in Dime Comics Issue No. 22

2017 Canadian Whites, Dime Comics, ENG 810-011 Lorraine Janzen, Uncategorized, , , , , , ,

©Copyright 2017 Abigail Tamayo, Ryerson University.

Introduction

Published by Bell Features, Dime Comics’ 22nd issue of the Canadian Whites comic books was released in April of 1945. It is one of twenty-nine published comic books issued by Dime Comics from 1942 to 1946 during and after World War Two.

Dingle, Adrian (a). Dime Comics. No. 22, April 1945, Bell Features: Cover, Bell Features collection, Library and Archives Canada.
Dingle, Adrian (a). Dime Comics. No. 22, April 1945, Bell Features: Cover, Bell Features collection, Library and Archives Canada.

From front to cover, the comic issue contains several action, adventure and science themed stories and includes two activity pages. The stories included in the comic issue are as follows: “Chapt-Nine Conclusion: Rex Baxter and Xalanta’s Secret” written and illustrated by Adrian Dingle, “Chick ‘n’ Fuzz” written and illustrated by Bill Thomas, “Oolay the Eskimo” story by Cal, “Nitro” written and illustrated by Jerry Lazare, “Professor Punk” written and illustrated by Harry Brunt, “Johnny Canuck” written and illustrated by Leo Bachle, “Let’s go back and face the draft, he says there’s a war on here too!” story by Mickey Owens, “The Mongoose” written and illustrated by Bill Thomas, “Firebug’s Fiasco” written and illustrate by Jerry Lazare, “Drummy Young” written and illustrated by Jerry Lazare, “Monster of the Deep” written and illustrated by Fred Kelly, and “Murder Star” written and illustrated by Tedd Steele. Although the comic was released around the end of the war, there were still strong instances of national identity presented throughout the issue which battled the depicted characterization of the axis powers. Within the writers and artists’ representation of violence and war, the differences between Canadian identity and that of the Axis Powers were distinct. Readers can easily distinguish the ethnicity and political positions of certain characters due to the stereotypes we are aware of now, implanted within their words and appearances.

Bell features publishing originated due to the government’s program of “Eliminating non-essentials” (“We Must Do Without”), and their existence contributed to the Canadian Whites’ influence in popular culture during World War Two. Dime Comic’s issue no. 22 manifested Canadian ideologies in its production, becoming a form of Canadian propaganda by perpetuating Canadian identity in the comic through its superheroes and the depiction of an anti-axis powers political view through its Japanese and Nazi-German characters.

Representation of the Axis Powers

The comic issue incorporates various elements of representation when conveying the diverse characters that appear in its stories. A crucial reoccurring essence of representation that is worth observing is how the axis powers are represented in the comic issue. The way in which the Axis Powers are represented provided readers in the 1930s with a manufactured vision of who the enemy was, and when compared to their pre-conceived notion towards Canadian identity it benefited an uplifting movement that encouraged national pride and Canadian nationality as “the good guys”.

Characters in this issue ranged from being Canadian, American, Japanese, and Nazi-German. The characterization of all characters in the issue were done by Canadian writers and artists. The writers and artists of this issue had the tendency to represent “the other” in World War Two, referring specifically to the Japanese and Nazi-German characters in the issue, through the racialization of their Japanese and Nazi-German characters.

In this comic issue, Nazi-Germans appear in the comic issue as unintelligent individuals, at least in comparison to the Canadian characters that appear alongside them. Emphasizing on how ludicrous and ill-advised the Nazi-Germans are in the stories they appear in, provides the reader with a tone-deaf representation of actual Nazi-Germans during World War Two.

 

Chapt-Nine Conclusion: Rex Baxter and Xalanta’s Secret

Written and illustrated by Adrian Dingle, “Chapt-Nine Conclusion: Rex Baxter and Xalanta’s Secret” is the first comic that appears in the issue. The story features the characters Rex Baxter and Gail Abbot who rescue Zoltan from a Japanese prison camp from the south pacific. The panels on the pages represent various moments in time, first placing the reader in a radio station (Dingle 1-2), then immediately into the action; Rex Baxter running towards a plane and in the sky (3-5), and communication between Americans, Canadians, and Rex Baxter. (6-7)

Within the language of the story, Dingle includes several World War Two slang terms. To refer to a Japanese person; anything Japanese Dingle shortens the word to simply ‘Jap’, however Dingle also makes use of a more offensive term in synonymous to a Japanese person: ‘Nip’ which originates in the 1940s as an abbreviated form of the term ‘Nipponese’. (“Nip3”) Tension had risen in the beginning of 1942 between Canadians and the Japanese since the attacks on Pearl Harbour on December 7th, 1941, resulting in a sense of distrust of Japanese-Canadians which lead to the imprisonment of Japanese-Canadians in internment camps. (Marsh) They remained detained in these camps, located along the pacific coast, for the duration of the second world war until the war ended in 1945. (Marsh)

Dingle, Adrian. Panel from"Chapt-Nine Conclusion: Rex Baxter and Xalanta's Secret." Dime Comics. No. 22, April 1945, Bell Features Collection, Library and Archives Canada.
Dingle, Adrian. Panel from”Chapt-Nine Conclusion: Rex Baxter and Xalanta’s Secret.” Dime Comics. No. 22, April 1945, Bell Features Collection, Library and Archives Canada.

Another offensive term referencing the Japanese is the word ‘squints’, which is a racial reference to the physical features of a Japanese Person.

Dingle, Adrian. Panel from"Chapt-Nine Conclusion: Rex Baxter and Xalanta's Secret." Dime Comics. No. 22, April 1945, Bell Features Collection, Library and Archives Canada.
Dingle, Adrian. Panel from”Chapt-Nine Conclusion: Rex Baxter and Xalanta’s Secret.” Dime Comics. No. 22, April 1945, Bell Features Collection, Library and Archives Canada.
Bachle, Leo. Panel from"Johnny Canuck." Dime Comics. No. 22, April 1945, Bell Features Collection, Library and Archives Canada.
Bachle, Leo. Panel from”Johnny Canuck.” Dime Comics. No. 22, April 1945, Bell Features Collection, Library and Archives Canada.
Chik ‘N’ Fuzz

Written and illustrated by Bill Thomas, “Chik ‘N’ Fuzz” follows two main characters Chik and Fuzz (notably a racist story due to Thomas’ depiction of Caucasian and African Americans through the two main characters) who are on their way to England when they intercept a Nazi-German submarine and take the opportunity to wreak havoc from within enemy lines. The Nazi-German characters in this story are easy to point out due to Thomas’ use of the characters’ speech bubbles and appearance to convey his Nazi-German representation.

Thomas, Bill. Panel from"Chik 'N' Fuzz." Dime Comics. No. 22, April 1945, Bell Features Collection, Library and Archives Canada.
Thomas, Bill. Panel from”Chik ‘N’ Fuzz.” Dime Comics. No. 22, April 1945, Bell Features Collection, Library and Archives Canada.

Note the emblematic Swastika of the German Nazi party on bands around the arms of the German soldiers. (Jeff) The characters also speak in a thick German accent which Thomas depicts through the intonation of the words he writes in the speech bubbles for the Nazi-German characters. In one frame, the Nazi-German characters appear to “Heil Hitler”.

Although Thomas’ representations of Nazi-Germans are watered-downed versions of real Nazi-German’s during World War Two, the representation provides readers with a basic concept of identifying Nazi-Germans.

Thomas, Bill. Panel from"Chik 'N' Fuzz." Dime Comics. No. 22, April 1945, Bell Features Collection, Library and Archives Canada.
Thomas, Bill. Panel from”Chik ‘N’ Fuzz.” Dime Comics. No. 22, April 1945, Bell Features Collection, Library and Archives Canada.
Thomas, Bill. Panel from"Chik 'N' Fuzz." Dime Comics. No. 22, April 1945, Bell Features Collection, Library and Archives Canada.
Thomas, Bill. Panel from”Chik ‘N’ Fuzz.” Dime Comics. No. 22, April 1945, Bell Features Collection, Library and Archives Canada.
Johnny Canuck

In his comic, Leo Bachle’s character Johnny Canuck is captured and held captive by Japanese soldiers and is tortured for information. Bachle’s depiction of the Japanese soldiers in the comic reveal a racialized appearance and speech, apparent in how he drew the soldiers and the diction he used in their speech bubbles.

Bachle, Leo. Panel from"Johnny Canuck." Dime Comics. No. 22, April 1945, Bell Features Collection, Library and Archives Canada.
Bachle, Leo. Panel from”Johnny Canuck.” Dime Comics. No. 22, April 1945, Bell Features Collection, Library and Archives Canada.
Bachle, Leo. Panel from"Johnny Canuck." Dime Comics. No. 22, April 1945, Bell Features Collection, Library and Archives Canada.
Bachle, Leo. Panel from”Johnny Canuck.” Dime Comics. No. 22, April 1945, Bell Features Collection, Library and Archives Canada.
Bachle, Leo. Panel from"Johnny Canuck." Dime Comics. No. 22, April 1945, Bell Features Collection, Library and Archives Canada.
Bachle, Leo. Panel from”Johnny Canuck.” Dime Comics. No. 22, April 1945, Bell Features Collection, Library and Archives Canada.
Maximum Advantage in pictures: propaganda as Art and History. From a Poster. This is the Enemy. Public Domain.
Maximum Advantage in pictures: propaganda as Art and History. From a Poster. This is the Enemy. Public Domain.

The dehumanization of the axis powers was not uncommon during the second world war, due to the increasing amount of propaganda posters made by the allies. The appearances of the Japanese were often caricaturized as ghastly monster-like individuals, inflicting malice to instill fear in the audiences the posters were propagandized towards. One American anti-Japanese propaganda poster called “This is the Enemy” shows a Japanese soldier holding a dagger in one hand with sharp-nails on the other, appearing to claw and reach for the woman who is running away in terror.

The Japanese soldier on the poster bears the Japanese Rising Sun Flag on his hat which was Japan’s flag during the late 19th and early 20th centuries but has since then changed due to its connection to the military significance during World War Two, wherein it acted as Japan’s insignia as an allied force of the Nazi-Germans who they shared similar ideologies with. (Kim) The racialization of Japanese persons in propaganda posters utilizes racial stereotypes to distinguish ‘the other’ and inflict fear of ‘the enemy’. This form of propaganda permeates Bachle’s comic, evident in the portrayal of the Japanese characters who are depicted as ruthless, remorseless and violent individuals.

 

National Identity

Two of the comics in this issue, “Nitro”, and “Johnny Canuck”, feature superheroes highly popularized during World War Two, Nitro and Johnny Canuck respectively, who Guardians of the North listed as members of a group of comic superheroes purposed to personify the Canadian spirit embedded within Canadian identity. Unlike the typical superhero who is characterized to have supernatural abilities, Nitro and Johnny Canuck are uncharacteristically portrayed to use more mundane abilities in battles. Nevertheless, the two share the ability of superhuman strength though in their comics “Nitro” and “Johnny Canuck” have them seen using intellectual based abilities, natural of a regular person alongside their superhuman ability. In Nitro and Johnny Canuck alone, it is evident there is a plethora of representation of Canadian identity which is primarily projected through the superhero’s actions, thoughts and words, and even so far as the way they are drawn by their artist.

Nitro
Lazare, Jerry. Panel from"Nitro." Dime Comics. No. 22, April 1945, Bell Features Collection, Library and Archives Canada.
Lazare, Jerry. Panel from”Nitro.” Dime Comics. No. 22, April 1945, Bell Features Collection, Library and Archives Canada.

In Jerry Lazare’s “Nitro”, Nitro appears to the reader firsthand as Terry Allen, a regular person who at the crime scene assesses the situation to an officer nearby, revealing his sharp attention to detail when pointing out a piece of evidence went amiss. He then switches into his alias, Nitro, to confront the perpetrator of the crime. He bears a skin-tight costume with the letter “N” on his chest, boots and gloves, and shorts held up with a belt that also has the letter “N” on its buckle.

 

 

Lazare, Jerry. Panel from"Nitro." Dime Comics. No. 22, April 1945, Bell Features Collection, Library and Archives Canada.
Lazare, Jerry. Panel from”Nitro.” Dime Comics. No. 22, April 1945, Bell Features Collection, Library and Archives Canada.
Lazare, Jerry. Panel from"Nitro." Dime Comics. No. 22, April 1945, Bell Features Collection, Library and Archives Canada.
Lazare, Jerry. Panel from”Nitro.” Dime Comics. No. 22, April 1945, Bell Features Collection, Library and Archives Canada.

Nitro is not only strong physically but mentally too. His enemy (“Curly” Edwards) admits inevitable defeat because Nitro is ‘To wise for his own good.’

In the face of danger Nitro defeats his enemy, showcasing his ability to use his quick wit and intelligence alongside his fighting skills. His contribution to Canadian identity surfaces in his near ‘normality’, emphasizing the concept that having superhuman abilities is not a necessary quality for a person who wants to help in the instance of a crime, rather instead if a person is willing to help and makes the effort of helping someone of authority then that person has done their part. It is a subliminal message of Canadian Nationalism that permeates a lot of the superhero stories produced by Dime Comics. The comic mirrors the implications of Canadian propaganda released during World War Two which focused on a collective group coming together for the greater good- wherein using a nation’s shared strength, intelligence, and the force in unity– Canadians contribute to the war time effort. On the Homefront, Canadians were encouraged to support the Canadian military service men through thriftiness, conservation of food and duel, recycling and reuse of resources, and loans (victory bonds) which would finance the war. (“War and Military”)

Library and Archives Canada. From a Poster. The Men Are Ready...Only You Can Give Them Wings :  Canada's war effort and production sensitive campaign. Public Domain.
Library and Archives Canada. From a Poster. The Men Are Ready…Only You Can Give Them Wings :  Canada’s war effort and production sensitive campaign. Public Domain.
Library and Archives Canada. From a Poster. If You Don't Need it... Don't Buy it. Public Domain.
Library and Archives Canada. From a Poster. If You Don’t Need it… Don’t Buy it. Public Domain.
Canadian War Museum. From a Poster. Save Waste Bones -They Make Glue For Aircraft .. And Are Used For Explosives... Public Domain.
Canadian War Museum. From a Poster. Save Waste Bones -They Make Glue For Aircraft .. And Are Used For Explosives… Public Domain.
Canadian War Museum. From a poster. Invest and Protect. Help Finish the Job. Public Domain.
Canadian War Museum. From a poster. Invest and Protect. Help Finish the Job. Public Domain.
Johnny Canuck
Bachle, Leo. Panel from"Johnny Canuck." Dime Comics. No. 22, April 1945, Bell Features Collection, Library and Archives Canada.
Bachle, Leo. Panel from”Johnny Canuck.” Dime Comics. No. 22, April 1945, Bell Features Collection, Library and Archives Canada.

Guardians of the North refers to Johnny Canuck as “Canada’s superhero.” Johnny Canuck was created by Leo Bachle and was used as a figure of response to the outside threats during World War Two. (Reynes-Chikuma et. al.) Johnny Canuck, also often referred to as Captain Canuck, helped legitimized a pre-conceived consciousness of Canadian identity, reinforcing the perception as Canada as a “peaceable kingdom.” (Edwardson 184) In his article, Ryan Edwardson explains the use of comic books which as a visual medium, encourages the imagination to be used, thus resulting in a conscious construction of the nation and national identity. (185) In issue no. 22, Johnny Canuck is placed under captivity by Japanese soldiers and is tortured for information, but later is thrown into a jail cell where he meets an elderly man who validates his persona as Captain Canuck while also validating the image of Canadian identity.

Captain Canuck became a part of Canadian consumer culture (195), especially as he mirrored Canadian nationalistic values that were propagandized towards Canadians on the Homefront in posters– moralism, natural strength, and self-sacrificing persona to name a few. (186) One artist pointed out the success of using propaganda posters as a tool to send messages, noting the artwork’s ability of permeating a message in an instant and aesthetically pleasing manner, alongside the tendency for posters to be internalized rather than analyzed, made them effective. (“Canadian WWII Propaganda posters”) In issue no. 22, Johnny Canuck exhibits the traits of a selfless hero whose perseverance goes unnoticed.

Bachle, Leo. Panel from"Johnny Canuck." Dime Comics. No. 22, April 1945, Bell Features Collection, Library and Archives Canada.
Bachle, Leo. Panel from”Johnny Canuck.” Dime Comics. No. 22, April 1945, Bell Features Collection, Library and Archives Canada.

Johnny Canuck’s strength is tested here, as he blames his lack of food and water on his being weaker than usual. The elderly man who is with him encourages him to drink the water and eat the bread he has hidden under his bed to help him regain his strength.

Bachle, Leo. Panel from"Johnny Canuck." Dime Comics. No. 22, April 1945, Bell Features Collection, Library and Archives Canada.
Bachle, Leo. Panel from”Johnny Canuck.” Dime Comics. No. 22, April 1945, Bell Features Collection, Library and Archives Canada.
Mental_Floss. From a poster. We Are Saving You, You Save Food. Public Domain.
Mental_Floss. From a poster. We Are Saving You, You Save Food. Public Domain.

When creating most of the propaganda posters made during World War Two, government officials consulted old posters from the first world war and other resources at the Public Archives. (“War and Military”) Johnny Canucks’ need to be fed to maintain his strength mirrors the message of a Canadian propaganda poster that was made during World War One, tiled “We Are Saving You, You Save Food” which also includes the following statement: “Well fed Soldiers Will Win the War”

 

Bibliography

Bachle, Leo (w, a). “Johnny Canuck”. Dime Comics, no. 22, April, 1945, pp. 23-28. Bell Features Collection, Library and Archives Canada. http://data2.collectionscanada.gc.ca/e/e447/e011166584.pdf

“Canadian WWII Propaganda Posters.” Air Museum. N.p., n.d. Web. http://www.airmuseum.ca/postscan.html

Clark, Jeff. Uniforms of the NSDAP: Uniforms, Headgear, Insignia of the Nazi Party. Atglen, PA: Schiffer Publishing, 2007.

Dingle, Adrian (w, a). “Chapt-Nine Conclusion: Rex Baxter and Xalanta’s Secret”. Dime Comics, no. 22, April, 1945, pp. 1-7. Bell Features Collection, Library and Archives Canada. http://data2.collectionscanada.gc.ca/e/e447/e011166584.pdf

Edwardson, Ryan. “The Many Lives of Captain Canuck: Nationalism, Culture, and the Creation of a Canadian Comic Book Superhero.” Journal of Popular Culture 37.2 (2003): 184-201. Web. 12 Apr. 2017. http://journals2.scholarsportal.info.ezproxy.lib.ryerson.ca/pdf/00223840/v37i0002/184_tmloccoaccbs.xml

Lazare, Jerry (w, a). “Nitro”. Dime Comics, no. 22, April, 1945, pp. 15-20. Bell Features Collection, Library and Archives Canada. http://data2.collectionscanada.gc.ca/e/e447/e011166584.pdf

“Nip3.” Oxford Dictionaries. https://en.oxforddictionaries.com/definition/Nip#Nip_Noun_500. Accessed 22 March 2017.

Kim, Dongwoo. “Why One Should Never Use the Japanese Rising Sun Flag.” Web. http://thewandereronline.com/why-one-should-never-use-the-japanese-rising-sun-flag-by-dongwoo-kim/

Marsh, James. “Japanese Internment: Banished and Beyond Tears.” The Canadian Encyclopedia 2012. Web. http://www.thecanadianencyclopedia.ca/en/article/japanese-internment-banished-and-beyond-tears-feature/

Reyns-Chikuma, Chris. “Exploring Canadian Identities in Canadian Comics [Special Issue].” Canadian Review of Comparative Literature/Revue Canadienne de Litérature Comparée 43.1 (2016): 5. Print.

Thomas, Bill (w, a). “Chik ‘N’ Fuzz”. Dime Comics, no. 22, April, 1945, pp. 8-13. Bell Features Collection, Library and Archives Canada. http://data2.collectionscanada.gc.ca/e/e447/e011166584.pdf

“War and Military.” Archive. Library and Archives Canada. N.p., n.d. Web. https://www.collectionscanada.gc.ca/posters-broadsides/026023-7200-e.html

“We Must Do Without.” Editorial. Toronto Telegram, April 13, 1942. Democracy at War: Canadian Newspapers and the Second World War, Canadian War Museum. http://collections.civilisations.ca/warclip/objects/common/webmedia.php?irn=5043709

Pedagogy and Propaganda in Active Comics no. 7

2017 Canadian Whites, Active Comics, ENG 810-011 Lorraine Janzen, , , , , , ,

© Copyright 2017 Christine Dionio, Ryerson University

Introduction

During the Second World War, the War Exchange Conservation Act placed in December 1940 restricted the importation of non-essential, luxury goods. This placed a strain on several industries, such as the comic book industry, as American comics thrived amongst Canadian readers (Bell “Comic Books in English Canada”). Rather than halt the comic book industry, the importation ban proved to be a precedent to the golden age of Canadian comics through the creation of the “Canadian Whites,” Canadian produced comics that, unlike the coloured American comics, had pages printed in black and white (Beaty 429). Many of the comic books that composed the “Canadian Whites” are similar to American superhero comics, however, they are more in-tune with Canadian sensibilities. Since the “Canadian Whites” were produced during the war, the comics’ storylines are not only a reflection of how the war was perceived by Canadians, but how Canadians wanted to inform the comic book market (i.e. children) about the war with a particular ideology in mind. The visual and textual war references in the seventh issue of Active Comics from September 1942 depict the fictional stories in a wartime context that the readers were exposed to through other forms of media, such as newspapers, propaganda posters, and films. The explicit visual and textual references seen in seventh issue of Active Comics demonstrates how the “Canadian Whites” served as a pedagogical tool used to address the anxieties of Canadian youth during World War II, using war-focused, nationalistic imagery to ease their anxieties and foster pride and support for the Allies during the war.

Canadian Strength and Adversity

T.A. Steele. Page from “Dixon of the Mounted.” Active Comics, no. 7, p. 1. Bell Features Collection, Library and Archives Canada.

The visual and textual references found in the seventh issue of Active Comics paralleled the actual events of the war in a way that celebrates Canadian strength and adversity. This is despite lacking any kind of explicit superpowers, with the exception of “The Brain”, who has clairvoyant abilities. The narratives had to discourage cynicism the reader may have towards the war without creating an irrational, over-inflated sense of optimism. As well, the heroes are expected to support the country by being active in the war, but their capabilities cannot be great enough to end the war on their own since this would create an unrealistic vision of the war and the enemy (Cord 60). While The Brain is the only hero in Active Comics no. 7 to have a superhuman power, he does not participate in the war. Rather, he fights local city crimes and uses his clairvoyant powers to foil unlawful citizens. Dixon of the Mounted lacks any kind of powers and, rather than being classified as a superhero, is a mere corporal supporting the Allies by fighting enemies within Canadian borders. The seventh issue in particular has Dixon fighting against Nazi agents who “intend to wreak havoc and destruction [at a Canadian munitions centre]” (Active Comics 1). Similar to soldiers fighting the war, Dixon depends on his pistol and determination to thwart the Nazi’s plans. Not only does Dixon lack superpowers, he also acts as a symbolic metaphor through his Mountie attire. Similar to propaganda posters, the characters embody cultural symbols as a means to connote them to a particular culture and nation. Dixon, in his Mountie uniform, represents Canada and fights for the law. The Nazi agents, introduced with a Swastika as a backdrop (Active Comics 1) signify Germany and antagonize them as threats to Canadian security. As a Mountie, he acts for the sake of law and justice, embodying both without compromise through an explicitly Canadian character. Ultimately, Dixon parallels the strife of Canadian soldiers in their fight with Axis soldiers and, despite lacking superpowers, demonstrates how those fighting alongside law and justice shall overcome the enemy.

Collective Canadian Triumph

The comic also demonstrates how success lies not only in the individual, but in the collective effort, which also applies to the events of the war. Both “Capt. Red Thortan” and “Thunderfist” demonstrate success against the enemies through the cooperation of everyone involved. In both stories, the characters are fighting against Japanese in a naval context. Active Comics no. 7 came out in September 1942, a year following Pearl Harbor (Greenhouse “Canada and the Battle of Hong Kong”) and a month following the Dieppe Raid (Herd “Dieppe Raid”). During this time, the Allies had to not only combat an enemy in a territory that they were unfamiliar with, but they also had to strike back following the many casualties at Dieppe. In both “Capt. Red Thortan” and “Thunderfist,” the respective heroes are both seen to thwart the Japanese’s advances onto the Allies albeit in an unfamiliar terrain. The emphasis on collective efforts was prevalent during World War II, as demonstrated in posters among other ephemera that worked to promote recruitment, promote bond sales, and promote unity both through domestic cooperation and by sympathizing with soldiers fighting overseas (Halliday 3).  While the heroes lacked any kind of extraordinary powers, they helped reassure the anxieties the young readers may have had about the war by including heroes that are similar to the soldiers who, despite lacking superpowers, can still unite and fight against the enemy.

The Axis and Otherness

Al Cooper. Panel from “Capt. Red Thortan.” Active Comics, no. 7, p. 43. Bell Features Collection, Library and Archives Canada.

One important aspect of visual representation in Active Comics are the way that characters coming from Axis countries are represented through stereotypical characteristics. In doing so, the Japanese and German characters are dehumanized and delineated from the reader as the other – something not to be identified with (Murray 181). With comics as both a visual and textual medium, it is important to consider how the visual representations retain as much meaning as what is demonstrated textually. Most of the major characters in Active Comics involved in the war are drawn realistically, thus the reader cannot identify as well with the protagonist and the antagonists as well as they could a more abstract figure (McCloud 36). However, this works to the advantage of fostering feelings of contempt towards the Axis powers. While the reader may not be a muscular adult male, they identify much closer with them than they do the dehumanized German and Japanese characters. The exaggerated, menacing depictions of the Axis powers not only reduce the enemies to flattened stereotypes, but also associate them with evil (Murray 191). The characters act as metaphoric symbols, standing in place of countries, and the stories of Dixon fighting the Nazi agents and Thunderfist thwarting the plans of the Japanese navy are meant to parallel the ongoing narratives of the war. The Axis characters, being visually antagonized, are not only delineated from the reader, but connoted with evil, thus rationalizing the archetypal triumph of good over evil which is prevalent in Active Comics‘ stories.

Shifting War, Shifting Narratives

“Active Jim’s Monthly Message.” Active Comics, no. 7, September 1942, p. 29. Bell Features Collection, Library and Archives Canada.

It is important to keep in mind that, due to the uncertainty of events, the visual and textual war references are subject to the changing events in the war. In a sense, the characters are a reaction to the battles, as was the case with how the Japanese are presented in Canadian media. In Legg’s film, “Warclouds in the Pacific,” Japanese residing in Britain and America are described to be “intensely loyal to the democratic principles they have adopted [and] proud of the New World heritage” (Legg “Warclouds in the Pacific”). However, Active Comics no. 7 expresses a different sentiment through the way that the Japanese characters are stereotyped and, as seen in “Capt. Red Thortan”, referred to as “Japs” and even “yellow friend” (Active Comics 38). Since the seventh issue of Active Comics was published following the attack at Pearl Harbor (Greenhouse “Battle of Hong Kong), it can be seen that as the events shifted in the war, as did the feelings towards the Axis powers and, in turn, the way that they are represented in mass media. However, the comics were not limited to negative depictions of the enemy with respects to the war. The comics inform the reader of the war both by negatively portraying the enemy and glorifying Allied soldiers. Despite Dieppe being a tragic loss for Canadians (Herd “Dieppe Raid”), “Active Jim’s Monthly Message” commended the “heroism displayed by all ranks at Dieppe” (Active Comics 29). While the Dieppe Raid resulted in a high amount of casualties, “Active Jim’s Monthly Message” celebrates the soldiers’ efforts, discouraging any kind of pessimism regarding the casualties at Dieppe.  The comics, being released on a monthly basis, actively react to the events and foster particular ideologies. That said, the comics act as propaganda, however it is with the youth readers’ anxieties and sensitivity to the war in mind.

Rationalizing Violence

The characters in Active Comics engage in realistic cases of violence, however they are rationalized through the context of the comics’ plots. The wartime context of the comics are what is considered “a state of exception” (Bainbridge 757), meaning that while the actions of the characters may go against the law in a regular context, acting against the law in favour of justice is permissible so long as it is in favour of the common good. In “Dixon of the Mounted”, the story in the issue is resolved with Dixon shooting a traitor, Karnz, dead. While murder is condemned, Dixon’s actions are rationalized since killing Karnz subverts “another Nazi Plot of Sabotage” (Active Comics 10). The comics justify wartime violence so long as it is at the benefit of defending the country and subduing the enemy which, during World War II, are the Axis powers. This can also be seen in “Capt. Red Thortan” when a Japanese pilot is shot down by a turret (Active Comics 44) – Captain Red Thortan killing another individual is permissible during these exceptional circumstances. While the readers of the comic are too young to fight in the war themselves, rationalizing violence still had a practical function at home. Similar to wartime posters, justifying wartime violence against the Axis powers works to promote feelings of contempt which then help foster nationalism and, in turn, support for the war effort (Halliday 128). The readers who associate themselves closer to Canadian characters such as Dixon and Captain Red Thortan than with the Japanese and German characters then are prompted to help support the war effort despite being to young to fight themselves. Overall, in rationalizing the war and the violence associated with it, the comic works to foster nationalistic support for Allied soldiers since the characters, despite technically breaking the law, are acting in exceptional circumstances for justice’s sake.

Conclusion

The seventh issue of Active Comics demonstrates both how Canadians responded to the war and the kinds of ideologies that they wanted to disseminate through wartime ephemera. In celebrating the valour of Canadian heroes, delineating the reader from the enemies, and justifying the violence, the comics work as a highly ideological pedagogical tool that not only informed their market, but influenced them in favour of nationalism. Doing so had pragmatic purposes, as doing so acted as a means to garner support for the war effort from members of Canadian society to young to fight on the war front. What differentiates the “Canadian Whites” from other wartime ephemera is how the approach had to appeal to a youth audience that, while is not completely passive, is still highly impressionable. Active Comics, in taking advantage of its visual and textual capacities, demonstrates the multifaceted ways that different mediums can be encoded with particular ideologies.

Works Cited

Active Comics, no. 7, September 1942. Bell Features Collection, Library and Archives Canada. http://www.bac-lac.gc.ca/eng/discover/art/bell-features/Documents/Active_Comics_7.pdf

Bainbridge, Jason. ““The Call to do Justice”: Superheroes, Sovereigns and the State During Wartime.” International Journal for the Semiotics of Law – Revue international de Sémiotique juridique, vol. 28, no. 4, May 24 2015, pp. 745-763. Scholars Portal Journals, DOI:10.1007/s11196-015-9424-y.

Beaty, Bart. “The Fighting Civil Servant: Making Sense of the Canadian Superhero.” American Review of Canadian Studies, vol. 36, no. 3, 2006, pp. 427-439. Canadian Business & Current Affairs Database, DOI: 10.1080/02722010609481401

Bell, John. “Comic Books in English Canada.” The Canadian Encyclopedia, August 7 2015. http://www.thecanadianencyclopedia.ca/en/article/comic-books-in-english-canada/.

Edwardson, Ryan. “The Many Lives of Captain Canuck: Nationalism, Culture, and the Creation of a Canadian Comic Book Hero.” Journal of Popular Culture, vol. 31, no. 2, November 2003, pp.184-201. Scholars Portal Journals, DOI: 10.1111/1540-5931.00063.

Greenhouse, Brereton and Richard Foot. “Battle of Hong Kong.” The Canadian Encyclopedia, November 15 2016. http://www.thecanadianencyclopedia.ca/en/article/battle-of-hong-kong/.

Herd, Alex. “Dieppe Raid.” The Canadian Encyclopedia, June 4 2015. http://www.thecanadianencyclopedia.com/en/article/dieppe-raid/.

Legg, Stuart. “Warclouds in the Pacific.” The National Film Board, 1941. Youtube, https://www.youtube.com/watch?v=GU1GXo_i4bQ.

Halliday, Hugh A. “Posters and the Canadian War Museum.” Canadian Military History, vol. 3, no., January 1 2012, pp. 126-129. Scholars Commons @ Laurier, http://scholars.wlu.ca/cmh/vol3/iss1/16/.

Heller, Steven. “The Ministry of Fear.” Social Research, vol. 71, no. 4, 2004, pp. 849-862. Project Muse, muse.jhu.edu/article/527363.

McCloud, Scott. Understanding Comics: The Invisible Art, William Morrow, 1994.

Murray, Christopher. Champions of the Oppressed: Superhero Comics, Popular Culture, and Propaganda in American During World War II, Hampton Press, 2011.

Scott, Cord A.. “Fighting for Freedom (1939-45).” Comics and Conflict, Naval Institute Press, 2014, pp. 54-90. ProQuest Ebook Central,               http://ebookcentral.proquest.com/lib/ryerson/detail.action?docID=1577594.

Stacey, C.P.. Revised by Richard Foot. “Second World War (WWII).” The Canadian Encyclopedia, May 13 2015. http://www.thecanadianencyclopedia.com/en/article/second-world-war-wwii.

Media Disclaimer

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

 

Today’s Youth, Tomorrow’s Future: Children and Propaganda in Active Comics #9

2017 Canadian Whites, Active Comics, ENG 810-011 Lorraine Janzen, , , , , , ,

©Copyright 2017 Alexandrea Fiorante, Ryerson University.

Active Comics Issue #9 

Writing for Canadian children and adolescence aged 7-18 during World War II, Active Comics issue nine (January 1943) relays wartime propaganda that promoted Canadian patriotism and war inclusion to youth who were too young to participate on the war front. This exhibit will study how Issue #9 involved children into wartime activities and groomed adolescents approaching wartime age through the comic “Active Jim” and his club membership “Active Jim’s Monthly Message.” Active Comics issue #9 is an important tool for recruiting the youth and creating ideal Canadian citizens from progression towards a better nation.

Canada and the Second World War

The War Exchange Act prohibited American non-essential goods, including comic books, from entering Canada during World War II. As a result, Canada emerged with comic books that promoted their own nationalistic views: The Canadian Whites. A Toronto publisher, Bell Features, created Active Comics.

Adrien Dingle. Active Comics: No. 9, January 1943, Dixon of the Mounted: Cover. Bell Features and Publishing Company Limited, 1943.

Created for, and by Canadians, Active Comics issue #9 encompass patriotic heroes, wartime news and incentives for children’s involvement. It was used as propaganda to groom youth for war. Fredrik Stromberg argues that propaganda was a necessary form of communication because of wartime ideas that viewed militarization as rational for teaching values (ch 2). Comic books influenced child readers’ opinions on political, social and moral values during the 1940s, in which patriotism was expected. It created ideal Canadian citizens to enlist in the war.

The importance of comic books stemmed from the educational standards of World War II. The 1880’s education system focused on teaching youth about politics and war events at government-run institutions. Ross Collins writes that children existed as messengers to relay information to their parents, among others (ch 2). Authorities encouraged youth to partake in clubs, such as boy scouts, to learn proper values, be groomed for war, and prevent delinquency (ch 2).

The drafting age for youth on the war front was nineteen. Comic books provided information that prepared young people, aged seventeen and eighteen, who were soon eligible to participate. Many children had siblings and parents active in the war efforts. Comic book imagery and content spawned children’s desire to be like their elders.
Bell Feature’s Active Comics issue #9 works similarly. It includes Canadian morals and militarization that groomed youth for future duties. Not only is reading an educational act, but it also kept children from delinquency by including clubs to join and activities to do. Issue #9 harnesses war values and interests by providing participatory opportunities and Canadian heroes to follow (Kockmarek 150).

Analysis of the “Active Jim” Comic

“Active Jim” is a comic book hero created by Edmond Good that presented an attainable image of the ideal Canadian citizen. “Active Jim” follows the young Canadian hero Active Jim and his lady friend Joan Brian during their car ride home after a hockey game. A boy of good values, he picks up a hitch hiker who turns out to be a Nazi trying to reach the United States border. Active Jim outsmarts the Nazi, ties him up, and brings him to police. The next day, Joan acknowledges Jim’s success. He replies that “any real Canadian boy would have done the same” (Good 37).

Fig. 1. Edmond Good. Frame from “Active Jim.” Active Comics, no. 9, January 1943, p. 37. Bell Features Collection, Library and Archives Canada.

Important to note is Active Jim’s backstory. Active Jim is a teenage boy who is not old enough to be on the war front. He is a young, average boy who, in-between his studies and watching hockey games, tries to do ‘his bit’ in support of Canada. Active Jim presents to youth a Canadian hero that is relatable in lifestyle and age. His comic pushes desires to be active in war efforts by showing an easily identifiable character and his successful attempts to fight crime. When he says that “any real Canadian boy would have done the same,” the idea of using role models is evident (fig. 1). Active Jim is an older brother figure used to groom, and persuade, young boys into being active in war efforts while showcasing Canadian values as important.

Fig. 2. Ross Saakel. Splash page from “The Noodle.” Active Comics, no. 9, January 1943, p. 30. Bell Features Collection, Library and Archives Canada.

Active Comics issue #9 also uses the young, amiable hero character in “The Noodle,”created by Ross Saakel, to inspire youth to do their part. The character is a baby wearing a diaper who combats enemy threat to save himself and his girlfriend, Henrietta (fig. 2). Like Active Jim, The Noodle is too young to be involved in the war. Likewise, the The Noodle’s backstory involves that his father is battling on the war front. The comic uses the father figure to identify with children who have parents in the war.  These fictional, young heroes show that anyone can aid in the war effort.

(Fig. 3)“Fund-Raising Poster, Hey Gang! Keep on Licking War Savings Stamps- They’re full of Vitamin ‘V’”. Broadside. Circa 1942, Canadian War Museum. Public Domain.

The Canadian War Museum poster “Hey Gang” uses a youth character to promote buying war saving stamps (fig 3). As done with “The Noodle” and “Active Jim,” the use of another young role model character creates a collective drive and a sense of unity that inspires other youth to participate. This poster also coincides with the idea of doing one’s part and reinforces the idea that all “Canadian’s must contribute to the end the war” (Stevenson). Considering children are too young to be on the war front,  buying war saving stamps-like the poster- and victory bonds, they are able to aid in the funding of the war. The red “V” on the poster stands for victory, providing an incentive to do their part and emerge successful in their efforts and the efforts of Canada.

 

Analysis of “Active Jim’s Monthly Message” 

Active Jim is the leader of his own membership club for wartime efforts. Created by Adrien Dingle, “Active Jim’s Monthly Message” uses the idealistic Canadian hero as propaganda for involving youth into war. His name, “Active Jim,” insinuates activeness from the use of the adjective in conjunction with the issue’s title “Active Comics.” This is evidence of blatant militarization and implementation of wartime values.

Fig. 4. Edmond Good. Frame from “Active Jim.” Active Comics, no. 9, January 1943, p. 35. Bell Features Collection, Library and Archives Canada.

Noted in his comic “Active Jim,” the comic’s backstory tells the reader that he and Joan are in the car chatting over the “Active Team’s sensational victory” (fig. 4). This acts as propaganda within within propaganda to advertise the club in Active Jim’s own realities. By pairing the club, the comic’s themes of activism and his notion that “any real Canadian boy would have done the same,” the club is a grooming method for making war efforts desirable by penning every child as a war hero. Active Jim’s club exists as a controlled environment that militarizes children and keeps them out of trouble as Collins had suggested (ch 2).

Active Jim’s club membership is an opportunity for youth’s active participation. Providing an elitist group run by a figure like Active Jim, working with the Canadian hero and receiving a special group certificate is a huge incentive to be war hero. Similarly to figure 3, it is effective in using a heroic character to relay information and ask the youth to fulfill roles. Children can relate to the mundane character and will listen and strive to be like them because they are relatable in lifestyle and age but still make evident change in Canadian society.

Active Jim’s Monthly Message: Casablanca Conference Analysis  

Fig. 5. Adrien Dingle. Splash page from “Active Jim’s Monthly Message.” Active Comics, no. 9, January 1943, p. 18. Bell Features Collection, Library and Archives Canada.

Active Jim’s Monthly Message in issue #9 asks for members to decode a message about the Casablanca conference. The use of a secret message not only creates excitement around an elitist group task, but relays political information to children. The Casablanca conference of January 1943, the same month and year of Active Comics issue #9, is about Franklin D. Roosevelt and Winston Churchill’s next phase of World War II (Fleming 2). Cleverly nicknamed “SYMBOL” which coincides with Active Jim’s ‘symbol message,’ the mention of the political event is used to inform children about the current events. As children learn, they will pass the information on to their parents through Collin’s suggestion that youth are used as messengers (ch 2). Likewise, “Active Jim’s Monthly Message” also acknowledges that children “are doing their part in so many ways… buying war saving stamps… but there’s still plenty of growth,” insinuating that there is always work to do, and that involvement in the war is crucial (Dingle 18) (fig. 5).

In connection to the historical outcome of the next phase, the Casablanca Conference was for “unconditional surrender,” meaning they would fight until their ultimate defeat, as peace could only come from the elimination of the German and the Japanese (Fleming 3). This mention resonates with readers and the act of continuing to do their part. However, the message remains unsolved because of the inability to retrieve the code wheel.
Active Comics issue #9 includes propaganda around teaching readers feelings of racism and hatred towards enemy powers. Active Jim’s comic includes Nazi hatred propaganda, and another comic “Thunderfist” showcases negative Japanese representation. Stromberg’s notion of ‘war rage’ as seen in various comics dealing with enemy powers was evident in popular entertainment to promote patriotism (ch 2).

Fig. 6. “Keep these hands off.” Broadside. Toronto Reference Library Baldwin Collection. Public Domain.

The World War II poster “Keep your hands off!” is an example of racial hatred towards enemies to promote patriotism (fig 6). The woman in the poster is holding a child that symbolizes innocence. The dark hands that have the emblems of the enemy powers on them are suggestively devious because of their shape in conjunction with the headline “keep your hands off!” The poster stresses the protection of youth from the enemy powers by fighting against them and posing them as a threat. The collective hatred of their enemies spawned patriotism and a desire for young people to fight against them to protect Canada and future generations.

By linking the ideas of the Casablanca Conference, mystery message from “Active Jim’s Monthly Message” and Jim’s statement to “work three times as hard to make this message a reality” Active Comics issue #9 uses the information to groom children for war by immersing them in politics and ideas essential to fighting enemies.

Fig. 7. Advertisement for Victory Model’s “Command Repeating Play Gun.” Active Comics, no. 9, January 1943, p. 66. Bell Features Collection, Library and Archives Canada.

Likewise to the ideas of grooming youth through information, the “Command Repeating Play Gun” by Victory Models aids in this process by selling replica weapons used on the war front (fig. 7). Through purchasing the items, the youth who are close to their enlistment age are able to be familiar, and practice with, the gun. Children further away from the legal age of enlistment are able to be groomed along with the elders to find desire in being on the war front through engagement with the toy.

The club and the toy exist, as Collins suggested, for keeping children out of trouble by giving them war related groups and items to engage with and gain interest in the war (ch 2). By partaking in activities, they are gaining Canadian values and learning how to be successful on the war front.

Conclusion 

Active Comic’s issue #9 (January 1943) targeted children aged 7-18 during World War II to relay wartime information and ensure the participation of children regardless of their age. Likewise, issue #9 is a method for grooming youth in preparation for the warfront. Through this issue, the form is used an important tool for harnessing youth interests and involvement through the “Active Jim” comic and “Active Jim’s Monthly Message” to create ideal Canadian citizens for wartime recruitment.

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.

Works Cited

Adrien Dingle. Active Comics: No. 9, January 1943, Dixon of the Mounted: Cover. Bell Features and Publishing Company Limited, 1943

Collins, Ross F. “How War Can Make Children Better.” Children, War & Propaganda. New York, Peter Lang, 2011.

“Command Repeating Play Gun.” no. 9, January 1943, p. 66. Bell Features Collection, Library and Archives Canada. http://data2.collectionscanada.gc.ca/e/e447/e011166795.pdf 

Fleming, Thomas. “The Most Ruinous Allied Policy of the Second World War.” History Today, vol. 51, no. 12, 2001, pp. 2-3. ProQuest, http://ezproxy.lib.ryerson.ca/login?url=http://search.proquest.com/docview/202814892?accountid=13631

Dingle, Adrien. “Active Jim’s Monthly Message.” no. 9, January 1943, p. 18. Bell Features Collection, Ryerson University Library and Archives. http://data2.collectionscanada.gc.ca/e/e447/e011166795.pdf

Good, Edmond. “Active Jim.” Active Comics, no. 9, January 1943, p. 35-37. Bell Features Collection, Ryerson University Library and Archives. http://data2.collectionscanada.gc.ca/e/e447/e011166795.pdf

Kocmarek, Ivan. “Truth, Justice and the Canadian Way: The War-Time Comics of Bell Features Publications.” Canadian Review of Comparative Literature, vol. 43, no. 1, 2016, pp. 148-165.  Project Muse, https://muse.jhu.edu/article/611725/pdf.

Saakel, Ross. “The Noodle.” Active Comics, no. 9, January 1943, p. 30-31. Bell Features Collection, Ryerson University Library and Archives. http://data2.collectionscanada.gc.ca/e/e447/e011166795.pdf 

Stevenson, Robert. “Canadian Wartime Propaganda: Second World War Propaganda Poster.” Canadian War Museum, Canadian War Museum, http://www.warmuseum.ca/cwm/exhibitions/propaganda/poster20_e.shtml. Accessed 9 March 2017.

Stromberg, Fredrik. Comic Art Propaganda: A Graphic History. Lewes, Ilex, 2010.

Censorship: The Constriction of Artistic Choice in Issue #5 of WOW Comics

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

© Copyright 2017 Courtney MacKerricher, Ryerson University

Canadian Censorship Background

Censorship is a word most commonly associated with war. It is a word that has been fashioned to promote positively reinforced environments through negatively impacted situations. For decades, censorship has plagued the world to ensure that any truth that needs to be contained must be filtered in a way that serves to protect countries from themselves and those around them. Mark Bourrie describes Canada’s participation in censorship during World War II as “the toughest of those imposed by any Allied countries” (“Between Friends” 7). Canada’s position towards the usage of censorship was to warrant restrictions as a form of deterrence during times of civil unrest in order to “keep military and economic secrets out of enemy hands, and to prevent civilian morale from breaking down” (Bourrie, “The Fog of War” 10). These restrictions primarily pertained to forms of written expression, where laws such as Canada’s War Measures Act, The Comics Code Authority and other influential regulations served together to assure the public’s mind on issues relating to the war.

The Pressures of Persuading the Public

One area that suffered greatly from these constricting laws was the publication of comic books. Although Canada respected the rights of the media, there were scores of laws with loop holes that allowed the censorship system to be overruled by publishing companies, thus creating a sense of voice through the constriction. This active voice gave readers access to information that they were entitled to receive. There is no doubt that numerous comic book authors were driven by patriotism or a noble cause, such as Canada’s participation in the war, but there is however, proof that the pressure to illustrate the government’s dominant ideology of the war was detrimental to creation. This fact alone made it difficult for creators to illustrate the government’s limited view of the time. These creative limitations impacted the comic book industries immensely. One series in particular, the Canadian Whites collection by Bell Features, fell victim to Canada’s strict publication laws. While there was no set list for what needed to be censored in Canada, anything relating to graphic content such as violence in children’s literature had to be removed. The question remains, how does a comic book company write a story about a superhero with no violence?

Substandard superheroes

When it comes to most superhero stories, violence is inevitable; however, unlike your average superhero, Dart Daring and Whiz Wallace are strategically detailed characters created to illustrate ordinary individuals. In issue five of WOW Comics, both characters possess no super human abilities apart from conquering extraordinary tasks. With charismatic charm, a strong sense of determination and the ability to survive any ship wreckage, Dart Daring establishes himself as an adventurer of the seas. When it comes to Whiz Wallace’s attributes: unthinkable courage, sharp instincts and his undying love for a woman named Elaine, these characteristics shape him into an intriguing intergalactic being. Both characters share solid foundations of Canadian morals which emphasizes the morality of their stories, proving Bart Beaty’s point that “superheroes are…exemplars of nationalist ideologies” (428). Due to the presence of censorship, readers were brainwashed into believing that the decisions made by these superheroes are politically correct, when inadvertently, these comics books taught children that the death of Native Indians and other races alike was necessary to achieve peace.

A psychiatrist by the name of Fredric Wertham saw comic books as “one mass medium…which taught children that violence was a solution rather than a problem” (Duncan and Smith, 276). Wertham dedicated his life to preserving childhood innocence by protesting against comic books industries and other mass media corporations. His protests came to one conclusion: graphic violence was a flourishing source to influence negative behaviours in readers and it needed to be stopped.  Ultimately, his one number goal was to keep comic books out of the hands of children and into the flames of a fire; much like Germany’s Nazi book burning campaign introduced by the German Student Union. With sheer determination and several failed attempts to bring about any legislation against comic book companies, Wertham helped to create what he believed to be a solution to the comic book problem: The Comics Code Authority. This “self-censoring agency” worked efficiently and effectively to make sure that any comic books produced during the times of World War II and several decades after that, were “suitable only for children” (276). Although Wertham’s ideologies possess reasonable points, his protests to entirely ban comic books from children were too extreme for the public. Without the use of violence, comic books were challenged to narratively undertake opposing ideologies and conjure eye-popping stories.

Violation of the Superhero Code of Ethics

A panel of the emotional and physical destruction caused by the volcanic erruption
Figure 1. E.T. Legault. Panel from “Whiz Wallace and the Bat-Beasts of Aralee.” WOW Comics, No. 5, February 1942, p. 64. Bell Features Collection, Library and Archives Canada.

In “the Bat-Beasts of Aralee”, Whiz’s story juxtapositions to allegorical transposition, by which “instead of conflict between capitalism and communism…war [erupts] between earthlings and alien invaders,” (Arnaudo, 120) in this case, the alien invaders take the form of bat creatures. Like most children’s fiction, the hero saves the girl and lives happily ever after; consequently, Whiz makes a political choice not to save the rest of the Tizani men who await their untimely demise. In Figure 1, Elaine is seen weeping for the lives lost to the volcanic eruption while Whiz comforts her by saying that the Tizani men“only met the fate they had wished upon [him and Elaine]” (E.T. Legault, “The Bat-Beasts of Aralee” 64). The rule that a superhero can never kill an individual under any circumstance or let a civilian die when they can be saved, was not yet formed back then as it is today. Without the installment of the “superhero code of ethics”, Whiz Wallace and Dart Daring must identity themselves as “rugged protagonists who weren’t…worried about the lives and deaths of others” (Arnaudo, 78). With this in mind, their characters created an image that fulfilled the anxieties Canada felt during the second World War.

The Integration of Comix Contents

Although Canadian land was never attacked during either World Wars, the bubbling anxieties citizens felt on the home front were overwhelming. Physical violence was a caution that the government did not wish to integrate into children’s everyday lives. One of the reasons the government chose to censor any information pertaining to violence in children’s literature was because they were afraid that children would “get the wrong idea” and become more aggressive to those around them. Any visual violence was removed from children’s literature after considerable backlash came from mothers who were worried that their sons would develop aggressive behaviours. Comix contents, otherwise referred to as underground adult comic books, are believed to have been subtly laced into Canadian comic books during World War II as a way to embed alternative beliefs of the time period into government approved works. These comics were banned due to the warning signs of aggressive readers sometimes obtained as a consequence of reading and seeing such graphic violence. One of the reasons why distributors banned visually graphic violence from comic books was to encourage children to intellectually process the war in a less explicit matter; consider war as a platform to peace (Duncan and Smith, 56).

Troubles in Publishing

After the War Exchange Conservation Act completely halted the importation of non-essential materials, primarily from the United States, new perspectives were able to arise through the rush to build a successful Canadian comic book industry. Unfortunately, the Golden Age of comics did not survive for very long in Canada due to technical difficulties such as of paper shortages, on top of the pressures of creating a censored voice and style that would keep readers wanting more. Bell Features quickly realized they made a mistake after their first issue was completely printed in colour. The labour-intense work, time and money that was saved by formulating iconic black and white cores was what kept Bell Features alive for several years. But even at that, creators and artists were unhappy. On a daily basis, they faced multiple creative constraints which led many readers to think less of comic books. Not only were there space limitations, there was a problem with reproduction technologies. Paper quality and production was poor, not to mention the page-by-page ink process (Duncan and Smith, 119). Because of this, the artistic style represented in these comic books suffered in terms of encapsulation, layout and overall composition, “the very manner in which an artist…has expressive power” (146). Which makes one wonder, if these issues were erased, could be presumable that the production of comic books in Canada would have continued to thrive even after the years of World War II, instead of reverting back to selling only American-made comics?

Physical and Visual Limitations of Censorship

With the overwhelming pressures creators faced to ensure that the views of the Canadian government where presented properly and promptly, publishing companies were kept under a watchful eye. Anyone who wrote, published, circulated, or possessed anything banned by the government was fined $5,000 and/or up to five years in prison (Bourrie, 21). These restrictive measures lead publishing companies to come up with clever ways to corporate their own ideologies into their work without the government knowing. Although most of Dart and Whiz’s battle wounds are visually disguised, in “the Bat-Beasts of Avalee,” Whiz’s cheek is subtly drawn to have an outlined wound. This the only time in the comic where one of Whiz’s several battle wounds appears. The rest of his wounds: claw marks, blooded fingers, ripped clothing and other lava burns are missing entirely from the drawings of his story.

Tactics Used to Avoid Censors

On page 49, Whiz makes his way up a volcano until he reaches the highest point of the summit, the last place he saw the bat creatures take Elaine. After a long struggle, he acquires several blooded fingers which are strategically placed outside of the image box, leaving the reader open to graphic interpretations. This is the one of the clever tactics comic book companies like Bell Features used in order to represent violence in a non-aggressive way, yet still demonstrating Whiz’s external and internal struggles in the process. Others tactics used in Whiz’s story include creating smaller images. By differentiating the size of his character when the narration refers to battle wounds “bleeding from many scratches” and clothes torn off of his body, readers cannot tell by Whiz’s small-drawn body that he obtains these marks.

Panel depicting Dart's fight against the Natives
Figure 2. E.T. Legault. Panel from “Dart Daring and Treacherous Trails.” WOW Comics, No. 5, February 1942, p. 25. Bell Features Collection, Library and Archives Canada.

In “Dart Daring and Treacherous Trails,” Dart and his newly acquainted friend, Bob Huntley, find themselves at the core of a “savage” attack, fighting their way through a sea of tomahawks. In Figure 2, the artistic dimensions of the page demonstrate how Edmond Good’s articulately-drawn triangular-shaped image boxes mask the evidence of violence displayed on the page. At first glance, a reader more then likely will not recognize that Dart is shown stabbing a “savage” to death on page 25. In many cases, readers put most of their visual attention towards the narrative aspect of the story, the middle of the page or image. With the clever use of puffs of smoke from the guns that Dart and Bob use, it is unlikely a reader would notice this display of violence. This could be why it was permitted to be published and distributed to children in Canada. These acts against the censorship of violence could have been detrimental to Bell Features, but instead, it allowed their readers a window of opportunity to experience what the brutalities of the second World War were really like.

 

Similar Acts Against the Censorship of Freedom of Voice

Throughout the years of the second World War, Canada’s Federal government used censorship for self-interested purposes but this never stopped individuals from pursuing and publishing the truth. Much like E. T. Legault’s clever uses of visual camouflage as a way to integrate violence and controversy into his comics, a team at the Globe and Mail newspaper company were considered some of the country’s earliest wartime censorship critics. A columnist by the name of Judith Robinson, fought with Toronto censors regarding the assertion of her opinion in a column dating back to December of 1939. After initially being rejected, Robinson’s original, uncensored work made its way to the lead paragraph of her column that was published, printed and handed off to the streets the very next day (Copp, 105). This story goes to show that censorship demanded too much of a societal constraint for those working inside and out of publishing companies; the voices of Canadian citizens were not being heard. In “The Bat-Beasts of Avalee,” the character of Elaine represents the suppressed voices of Canadians when she sheds a tear for the unfortunate lives lost to a volcanic eruption. In contrast, Whiz’s character is the perfect representation of Canadian government morality. These clashes of voices demonstrate the frustration that Robinson, along with numerous other writers, felt during the time period. With an abundance of frustration, criticism towards the government’s priorities was top on a writer’s list.

Criticism on Canadian Censorship

On December 11th, 1939, a newspaper article titled Newspapers and the War by the Globe and Mail, made its national debut. This article wrote to confirm that criticism is a writer’s rite of passage, you can choose to withhold it, or splurge. Criticism was something Canadian newspapers faced on a daily basis during World War II. The most criticism was initially presented towards the Canadian government “due to the fact that the nation’s preparedness for the war [had] been unwisely explained and overemphasized”. At the time, there was quite a sense of disappointment with the government but also “room to hope”. With the country becoming further and further submerged into the horrors of the war, censorship of graphic content was one of the few ways in which the government could provide a measure of innocence to a world full of destruction. However, Wilfrid Eggleston, the man the Canadian government appointed as their Chief of Censoring even questioned himself as to whether censorship “was an effective way of keeping secrets and maintaining morale,” (Copp, 98). It’s just like how children eventually understand that Santa Claus isn’t real; one way or another, everyone learns the truth. There will always be a constant battle of whether society will think that they went too far to suppress information or not enough. Dart Daring and Whiz Wallace’s visually disguised battle wounds demonstrate that even with the pressures of censorship, the ideologies of Canadian citizens were cleverly and dynamically expressed during the time period of World War II.

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Works Cited

  • Arnaudo, Marco, and Jamie Richards. Myth of the Superhero. Baltimore, Johns Hopkins University Press, 2013.
  • Beaty, Bart. “Fighting the Civil Servant: Making Sense of the Canadian Superhero,” The American Review of Canadian Studies, vol. 36, no. 3 (Fall 2006), pp. 427-39. Pro Quest
  • Canadian Business and Current Affairs Database, http://search.proquest.com.ezproxy.lib.ryerson.ca/cbcacomplete/docview/214007738/abstract/6B9303D71CDE485CPQ/1
  • Bourrie, Mark. The Fog of War: Censorship of Canada’s Media in World War Two. Vancouver, Douglas & McIntyre, 2011.
  • — “Between friends: Censorship of Canada’s media in World War II.” University of Ottawa, 2009, pp. 1–448, ProQuest Dissertations Publishing, ezproxy.lib.ryerson.ca/login?url=http://search.proquest.com.ezproxy.lib.ryerson.ca/docview/230969316?accountid=13631
  • Copp, Terry, et al. Canada and the Second World War: Essays in Honour of Terry Copp.Waterloo, Ontario, Canada, Wilfrid Laurier University Press, 2012.
  • Duncan, Randy, et al. The Power of Comics: History, Form and Culture. New York City, NY, The Continuum International Publishing Group Inc., 2009.
  • Legault, E.T. (w) and Good, Edmond (a). “Thrilling Adventures of Dart Daring: Master Swordsman.” WOW Comics, no. 5, February, 1942, pp. 1-64. Bell Features Collection,Library and Archives Canada. http://data2.collectionscanada.gc.ca/e/e447/e011166668.pdf
  • The Globe and Mail. “Newspapers and The War.” The Globe and Mail, 11 Dec. 1939, www.warmuseum.ca/cwm/exhibitions/newspapers/information_e.shtml.

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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.