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Comic Books Go To War

It has been argued, successfully, that the Nazi German government used propaganda better than the world had seen previously (or perhaps since). Under the direction of Dr. Joseph Goebbels every perceived enemy, every desired ally were nuanced and influenced by the words and images of the Nazi propaganda machine. But however successful the Nazis were with their propaganda machine, Americans also had their propaganda, and it came in many forms. Included amongst the mediums utilized was COMICS.

American Jews very much were the comics industry in the pre war years of the late 1930s. They were in every area of the industry, writers, editors and artists. Many were young, some were first generation immigrants. And, some were very worried by the world events and the persecution of Jewish communities throughout Nazi occupied and threatened Europe. Some would enter the military to fight directly, but before that, many used the comics medium to motivate, educate, and inspire others to fight Nazi tyranny.

May 1940 saw the publication of the first war comic, appropriately called War Comics No. 1 from Dell. With war raging in Europe and coming soon for America, the Nazi theme ran wild through comics. A year before the villainous attack upon Pearl Harbor December 7th 1941, fascists named "The Purple Shirts" were attacking the installations and defense works of the US. Ezra Smith, a true blue American got killed in an ultimate sacrifice for his country. His son, Buddy, was horrified, ran aimlessly and wished for someone to defend America from the Purple Shirts. Uncle Sam appeared to him, and then kicked purple ass. After that, Sam and Buddy were partners in America's struggle against the Nazis, fascists in general and Japanese soldiers. Quality's Uncle Sam was a living symbol of America and appeared in National Comics #1, July, 1940. The story was written and drawn by Will Eisner, a creative talent who is/was Jewish.

In March 1941 came one of the most patriotic heroes of them all, Captain America Comics No. 1 from Timely Comics. The title was unusual in that the character was given his own title without the benefit of earlier appearances in other titles to guage reader interest. Months before America's entry into World War II in December 1941, the artist formerly known as Jacob Kurtzman, Jack Kirby illustrated along with Joe Simon, CAPTAIN AMERICA #1 for TIMELY COMICS, (later Marvel) with a cover showing another living symbol of the country striking Adolf Hitler. Was there an uproar? No and frankly the comic was treasured by the people who bought it. Who bought it? Well unlike the present comic market the typical buyer and reader of comics would have been a child. In addition to a knowledge of the readership demographics, the price point represented what might have been a child's weekly allowance or earnings from chores. Children were the target audience and I guarantee that very few in that audience even thought "hey we are not at war with Nazi Germany". But the creative talents, Simon and Kirby knew very well that America was not yet at war.

Steve Rogers, a frail and thin young man deemed unfit for service in the army yet still wishing to do his patriotic duty, volunteers for a secret government progrma with the objective of creating supersoldiers. Steve takes the supersoldier-serum, building his muscle and brain tissue to perfection and transformed into the ultimate soldier. The only successful supersoldier, he goes undercover as a private on the front lines wreaking havok on the enemy. The cover to No. 1 showed Hitler being knocked out by Captain America. Simon and Kirby's young assistant, 17 year old Stanley Leiber, known as Stan Lee, received his first published work in Captain America No. 3, a two part text story. His first published comic story was in No. 5. Young Stan Lee would later go on to become the most famous writer and editor in the history of comics.

In Summer 1941 Captain America, Sub-Mariner, and The Human Torch starred in a new title, All Winners No. 1, fighting the war for America. Following on this, Bucky, Captain America's kid sidekick, and Toro, The Human Torch's kid sidekick, starred in Young Allies No. 1. Daredevil No. 1 appeared in July 1941 from Lev Gleason. Quality published Military Comics No. 1 in August 1941 as well as Police Comics No. 1, featuring Plastic Man. Plastic Man received his own title with Plastic Man No. 1 in Summer 1943.

Propaganda targeted the youth of America, and soon when the war did begin in earnest, the number of comics aimed at motivating Americans towards action was growing, and when service men and women took to the battlefield, comics were sold in record numbers, to them. At that point were the covers and stories propaganda or reflections of the war's events? Well Japanese people, whether soldiers or saboteurs, were presented very much in a stereotypical fashion, that is, with yellow skin, squinty eyes behind thick glasses, and of course buck teeth. As John Dower's WAR WITHOUT MERCY and Roger Daniels CONCENTRATION CAMPS USA demonstrate, America's war against Japan was a race war. The Japanese Americans, citizens of the USA, were interned, as being untrustable. Comic covers make it clear that comic artists thought of the Japanese as Japs, or more correctly, as enemies.

Some of the greatest covers were more about motivating people than demonizing opponents, artists such as Alex Schomberg created awesome and inspiring works using the heroes of Timely and DC depicted as fighting the Axis powers, of Nazi Germany, Italy and Japan. Additionally, war bonds were referred to on covers, as well as home front efforts to support the war effort. All in all comics depicted all aspects of the war.

Fighting raged on in the Pacific and Europe in November of 1942. Blue Bolt Comic's contribution to the war effort was up front and on the cover of their November 1942 issue. In a cover illustrating the intensity of America's passion toward the war, Dick Cole and his pal Simba Karno play cheerleaders over a cartoon showing Japanese humiliation.

Now clearly there was plenty in the war to respond towards. Pearl Harbor, the Death March, the victims of the Holocaust, Malmedy were all examples of horrible events that killed or maimed Americans, but war is horrible on all accounts. Victims exist due to war. I am not saying anything about the ultimate righteousness of the propaganda, but instead simply saying, that as far as propaganda goes, the Comics played a role, did so before the war, and throughout it. Those who created the works were motivated by many things, not the least amongst them capitalism, or that is, selling comics.

The fact is that during war even escapist literature often depicts war. So it would not be wrong to suggest that at least some of the creative talents knew that an image of Hitler on a cover as a bad guy would sell a comic better than Lex Luthor or some other villain. If Hitler invaded hell I would make at least a favorable reference to the devil in the House of Commons. - Winston Churchill

Comic covers during and about later conflicts were less prone to use stereotypical images, and were less black and white in discussing the conflict versus good and evil. Clearly the type of conflict was important in determining how the war was considered, and World War II was, up until 9-11-2001, considered by many people to be the last righteous war.

By 1943 paper shortages caused by the war were limiting expansion of comics and fewer new titles were produced. Fawcett produced Don Wislow of the Navy No. 1 and Hopalong Cassidy No. 1 in February. Timely added All Select Comics, featuring Captain America, Sub-Mariner, and The Human Torch in the Fall after giving their "Young Allies" another new title, Kid Komics No. 1 in February. Also from Timely in the Fall was the humor title All Surprise No. 1 featuring Super Rabbit. The only new title from DC was All Funny Comics No. 1 in December, containing the first appearance of their answer to Archie, Buzzy.

By 1944 America was presenting the image of assurance. In a "personal" message from Air Force General Henry "Hap" Arnold, underage students are encouraged to stay in school and graduate. The ad can be seen at the Museum of Comic Book Advertising and appeared on the inside cover of All-Flash, Fall 1944. Because of production schedules, the ad was in production around the time of D-Day, June 6, 1944.

With the end of the war in 1945, comics were in less demand as hordes of soldier that had been buying them no longer were in the service and were able to purchase them. Fawcett trotted out another Captain Marvel related title, this one called Marvel Family No. 1, in December 1945. Marvel Comics tried moving to girl comics with the release of Patsy Walker in Summer 1945 and Millie the Model that Winter. Harvey published Joe Palooka in November 1945. DC's Fox and the Crow premiered in Real Screen Funnies No. 1 in Spring 1945. Marge's Little Lulu first appeared in Dell's Four Color No. 74 in june 1945, having previously been a newspaper strip.

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