Superhero fiction

Source: Wikipedia, the free encyclopedia.
Superhero fiction
Captain Marvel, an iconic and influential example of the genre.
Stylistic originsEarly 20th century,
United States, Japan
Cultural originsGolden Age of Comic Books (America)
Kamishibai (Japan)
FeaturesFocus on adventures of heroic figures usually possessing superhuman powers and/or other abilities

Superhero fiction is a subgenre of

criminals known as supervillains. The genre primarily falls between hard fantasy and soft science fiction in the spectrum of scientific realism. It is most commonly associated with American comic books, though it has expanded into other media
through adaptations and original works.

Common plot elements

Superheroes

A

superheroine (also rendered super-heroine or super heroine). In the United States, the term "SUPER HEROES" is a registered trademark co-owned by DC Comics and Marvel Comics
.

By most definitions, characters do not strictly require actual superhuman powers to be deemed superheroes, although terms such as costumed crime fighters or masked vigilantes are sometimes used to refer to those such as Batman and Green Arrow without such powers who share other common superhero traits. Such characters were generally referred to as "mystery men" in the so-called Golden Age of Comic Books to distinguish them from characters with super-powers. Normally, superheroes use their powers to counter day-to-day crime while also combating threats against humanity by their criminal counterparts, supervillains.

Long-running superheroes such as

rogues gallery
" of such enemies. One of these supervillains might be the superhero's archenemy. Superheroes will sometimes combat other threats such as aliens, magical/fantasy entities, natural disasters, political ideologies such as Nazism or communism (and their proponents), and godlike or demonic creatures.

Supervillains

A supervillain or supervillainess is a variant of the villain character type, commonly found in comic books, action movies, and science fiction in various media. They are sometimes used as foils to superheroes and other heroes. Whereas superheroes often wield fantastic powers, the supervillain possesses commensurate powers and abilities so that he can present a daunting challenge to the hero. Even without actual physical, mystical, superhuman or superalien powers, the supervillain often possesses a genius intellect that allows him to draft complex schemes or create fantastic devices.

Another common trait is possession of considerable resources to help further his aims. Many supervillains share some typical characteristics of real-world dictators, mobsters, and terrorists and often have aspirations of world domination or universal leadership. Superheroes and supervillains often mirror each other in their powers, abilities, or origins. In some cases, the only difference between the two is that the hero uses his extraordinary powers to help others, while the villain uses his powers for selfish, destructive or ruthless purposes.

Secret identities

Both superheroes and supervillains often use

alter egos while in action. While sometimes the character's real name is publicly known, alter egos are most often used to hide the character's secret identity
from their enemies and the public.

With superheroes, the duality of their identities is kept a secret and closely guarded to protect those close to them from being harmed and to prevent them from being called upon constantly, even for problems not serious enough to require their attention. This can be a source of drama with the superhero being forced to devise means of getting out of sight to change without revealing their identity, or bearing the price of keeping such a secret. In addition, this narrative trope can allow fantasy characters to be in occasional realistic stories without the fantasy element of the sub-genre appearing.

With supervillains, by contrast, the duality of their identities is kept a secret and closely guarded to conceal their crimes from the general public, so that they may inflict greater harm on the general public, and to enable them to act freely, and hence illegally, without risk of arrest by law-enforcement authorities.

Death

Death in superhero fiction is rarely permanent, as characters who die are often brought back to life through supernatural means or via

retcons (retroactive changes to the continuity), the alteration of previously established facts in the continuity of a fictional work. Fans have termed the practice of bringing back dead characters "comic book death
".

Another common trait of superhero fiction is the killing off of a superhero's significant other by a supervillain to advance the plot. Comic book writer

Alex DeWitt is murdered by the supervillain Major Force and stuffed into Rayner's refrigerator) to refer to this practice.[1][2]

Continuity

Many works of superhero fiction occur in a shared fictional universe, sometimes (as in the cases of the DC and Marvel Universes) establishing a fictional continuity of thousands of works spread over many decades.

Changes to continuity are also common, ranging from small changes to established continuity, commonly called retcons, to full reboots, erasing all previous continuity.

It is also common for works of superhero fiction to contain established characters and setting while occurring outside of the main canon for those characters.

Crossovers

Bulletman join forces to battle Captain Nazi
.

Crossovers often occur between characters of different works of superhero fiction. In comic books, highly publicized "events" are published featuring crossovers between many characters. In previous eras, especially in the Bronze Age of Comic Books, Marvel and DC had dedicated series in which their marquee characters such as Spider-Man and Superman would meet various characters in single stories such as Marvel Team-Up and DC Comics Presents. However, that publishing fashion has fallen away in favor of occasional limited series
and guest appearances in regular series when the writers felt the character's presence was justified.

Intercompany crossovers
, between characters of different continuity, are also common.

Genre flexibility

Over the history of the comic book genre, writers for major characters' series were required to produce material to strict regular publishing schedules that often ran for years. As such to fulfill this strenuous creative requirement, superhero stories have used a wide variety of story genres such as Fantasy, Science fiction, Mystery, Horror, Crime fiction etc. that put superhero characters in a vast variety and combinations of story settings and fiction tropes with their presence the major common element. As such, it has become an expected element to superhero fiction for the heroic characters to be placed in nearly any story situation, including relatively down-to-Earth drama with their personal lives out of costume.[3]

For instance,

Robin). Furthermore, their series had such a variety of stories, such as in a year-long period of 1982-3 where in rapid succession, the team would face Brother Blood, a costumed supervillain cult leader, then promptly have a space opera story where the team goes to another planet to oppose the imperial forces of Blackfire and then return to Earth only to get involved in a relatively realistic urban crime story about runaways
.

History

Prototypes

Sunday strip
(May 28, 1939). Art by Ray Moore.

The

Spring Heeled Jack,[9] who first emerged as an urban legend
of the early 19th century, was re-conceived as a masked and costumed adventurer during the 1890s.

The

Scarecrow of Romney Marsh, would follow. Likewise, the science-fiction heroes John Carter of Mars, Buck Rogers, and Flash Gordon, with their futuristic weapons and gadgets; Tarzan, with his high degree of athleticism and strength, and his ability to communicate with animals; Robert E. Howard's Conan the Barbarian and the biologically modified Hugo Danner of the novel Gladiator, were heroes with unusual abilities who fought sometimes larger-than-life foes. The word "superhero" itself dates to at least 1917.[10]

The most direct antecedents are

Thrilling Wonder Stories, the word superhero was used to define the title character of the comic strip Zarnak by Max Plaisted.[16][17] Historians point to the first appearance of Superman, created by Jerome "Jerry" Siegel and designed by Joseph "Joe" Shuster, in Action Comics #1 (June 1938) as the debut of the comic-book archetype of the superhero.[18]

Outside the American comics industry, superpowered, costumed superheroes, such as

children's novels in the 1910s.[21][22][23] By 1914, his abilities included superhuman strength, chanting incantations, appearing and disappearing, jumping to the top of the highest trees, riding on clouds, conjuring the elements (water, fire and wind), and transforming into other people or animals.[21]

Golden Age

In 1938, writer Jerry Siegel and artist Joe Shuster, who had previously worked in pulp science fiction magazines, introduced Superman. (Siegel, as the writer, actually created the central and supporting characters; Shuster, as the artist, designed these characters, and gave Superman the first version of his now-iconic uniform.) The character possessed many of the traits that have come to define the superhero: a secret identity, superhuman powers and a colorful costume including a symbol and cape. His name is also the source of the term "superhero", although early comic book heroes were sometimes also called mystery men or masked heroes.

The Flash, The Hawkman, Aquaman, and The Green Arrow. The first team of superheroes was DC's Justice Society of America
, featuring most of the aforementioned characters. Although DC dominated the superhero market at this time, companies large and small created hundreds of superheroes.
The Spirit, featured in a comic strip, would become a considerable artistic inspiration to later comic book creators. The era's most popular superhero, however, was Fawcett Comics's Captain Marvel, whose exploits regularly outsold those of Superman
during the 1940s. When Fawcett Comics went out of business as such, DC Comics, which had been embroiled in a bitter copyright dispute with Fawcett Comics over Captain Marvel, bought out the copyright to not only the character but also his ancillary "Marvel Family" of heroes and villains.

During

Axis Powers and the patriotically themed superheroes, most notably Marvel's Captain America as well as DC's Wonder Woman
.

Like other pop-culture figures of the time, Superheroes were used to promote domestic propaganda during wartime, ranging from the purchasing of

]

Following superheroes's popularity during this time, those characters' appeal began to dwindle in the post-war era.[24] Comic-book publishers, casting about for new subjects and genres, found success in, particularly, crime fiction, the most prominent comic of which was Lev Gleason Publications's Crime Does Not Pay,[25] and horror.[citation needed] The lurid nature of these genres sparked a moral crusade in which comics were blamed for juvenile delinquency and the United States Senate Subcommittee on Juvenile Delinquency began. The movement was spearheaded by psychiatrist Fredric Wertham, who argued in Seduction of the Innocent, that "deviant" sexual undertones ran rampant in superhero comics.[26] In 2012, his methodology was reviewed and his results were found to be misleading if not falsified.[27][28]

In response, the comic book industry adopted the stringent

Golden Age of comic books
.

Silver Age

In the 1950s,

mythological heroes in their origins and abilities, these heroes were inspired by contemporary science fiction. In 1960, DC banded its most popular heroes together in the Justice League of America
, which became a sales phenomenon.

Empowered by the return of the superhero at DC,

The Fantastic Four in 1961 and continuing with the Incredible Hulk, Spider-Man, Iron Man, Thor, the X-Men, and Daredevil. These comics continued DC's use of science fiction concepts (radiation
was a common source of superpowers) but placed greater emphasis on personal conflict and character development. This led to many superheroes that differed from predecessors with more dramatic potential. For example, the Fantastic Four were a superhero family of sorts, who squabbled and even held some unresolved acrimony towards one another, and Spider-Man was a teenager who struggled to earn money and maintain his social life in addition to his costumed exploits.

In non-comics media

Film

The 1941 film Adventures of Captain Marvel, Republic Pictures

Superhero films began as Saturday

sequels
in both series fared poorly both artistically and financially, stunting the growth of superhero films for a time.

Hit films such as 1998's

deaf superheroes who use sign language.[31]

Live-action television series

Several live-action superhero programs aired from the early 1950s until the late 1970s. These included

Japanese tokusatsu series include Ultraman,[38] Spectreman[39] and Kamen Rider.[40] Other series include-

Animation

In the 1940s,

Superman cartoons, which became the first examples of superheroes in animation. Since the 1960s, superhero cartoons have been a staple of children's television, particularly in the U.S.. However, by the early 1970s, US broadcasting restrictions on violence in children's entertainment led to series that were extremely tame, a trend exemplified by the series Super Friends. Meanwhile, Japan's anime industry successfully contributed its own style of superhero series, such as Science Ninja Team Gatchaman
.

In the 1980s, the

Spider-Man: The Animated Series
.

Comics' superhero mythos itself received a nostalgic treatment in the 2004 Disney/Pixar release The Incredibles, which utilized computer animation. Original superheroes with basis in older trends have also been made for television, such as Disney's Gargoyles by Greg Weisman and Cartoon Network's Ben 10 franchise and Nickelodeon's Danny Phantom.

Radio

Beginning 1940s, the

Superman starred Bud Collyer as the titular hero. Fellow DC Comics stars Batman and Robin made occasional guest appearances. Other superhero radio programs starred characters including the costumed but not superpowered Blue Beetle, and the non-costumed, superpowered Popeye. Also appearing on radio were such characters as the Green Hornet, the Green Lama, Doc Savage, and the Lone Ranger, a Western
hero who relied on many conventions of the superhero archetype.

Literature

Adaptations

Superheroes occasionally have been adapted into

Avon Books beginning in 1972, written by Phantom creator Lee Falk, Ron Goulart
, and others.

Also during the 1970s,

and others.

In the 1990s and 2000s, Marvel and DC released novels adapting such story arcs as "

No Man's Land
".

Original

Original superhero or superhuman fiction has appeared in both novel and short story print forms unrelated to adaptations from the major comic-book companies. It has also appeared in poetry.

Print magazines devoted to such stories include A Thousand Faces: A Quarterly Journal of Superhuman Fiction, published since 2007 in print and electronic form, and online only as of 2011[49] and This Mutant Life: Superhero Fiction, a bimonthly print publication from Australia, published since 2010.[50] The latter magazine was one of the few to also publish superhero poetry, ceasing to do so as of 2011. Superhero poems there included Philip L. Tite's "Brittle Lives", Mark Floyd's "Nemeses", and Jay Macleod's "All Our Children".

Novels with original superhuman stories include Robert Mayer's

St. Martin's Griffin, March 9, 2005); James Maxey's Nobody Gets the Girl (Phobos Books, 2003); Rob Rogers's Devil's Cape (Wizards of the Coast Discoveries imprint, 2008); Austin Grossman's Soon I Will Be Invincible (Pantheon Books, 2007); Lavie Tidhar's The Violent Century (Hodder & Stoughton, 2013), David J. Schwartz's Superpowers: A Novel (Three Rivers Press, 2008); Matthew Cody's Powerless (Knopf, 2009); and Van Allen Plexico's Sentinels
series of superhero novels (Swarm/Permuted Press, beginning in 2008). Collections of superhuman short stories include Who Can Save Us Now?: Brand-New Superheroes and Their Amazing (Short) Stories, edited by Owen King and John McNally (Free Press, 2008), and Masked, edited by Lou Anders (Gallery, 2010). With the rise of e-book readers like Kindle and Nook, a host of superhero stories have been self-published, including R. R. Haywood's Extracted (2017), R. T. Leone's Invinciman (2017), and Mike Vago's Selfdestructible (2018).

Video games

While many popular superheroes have been featured in licensed video games, up until recently there have been few that have revolved around heroes created specifically for the game. This has changed due to popular franchises: The

massively multiplayer online role-playing game
(or MMORPG), all of which allow players to create their own superheroes and/or villains.

Internet

In the 1980s and 1990s, the

newsgroup rec.arts.comics would give birth to the Legion of Net. Heroes shared universe.[citation needed] In 1994, LNH writers contributed to the creation of the newsgroup rec.arts.comics.creative, which spawned a number of original superhero shared universes.[citation needed
]

Magazine-style websites that publish superhero fiction include Metahuman Press, active since 2005,[51] and Freedom Fiction Journal.[52] Superhuman fiction has also appeared in general science fiction/speculative fiction web publications, such as the weekly Strange Horizons, a publication that pays its contributors.[53] Two examples there are Paul Melko's "Doctor Mighty and the Case of Ennui" and Saladin Ahmed's "Doctor Diablo Goes Through the Motions".

The

web serial Worm
began publication in 2011 and completed in 2013 while its sequel, Ward, began in November 2017 and completed in May 2020.

Outside the United States

There have been successful superhero works in other countries most of whom share the conventions of the American model. Examples include Cybersix from Argentina, Captain Canuck from Canada, and the heroes of AK Comics from Egypt. Japan is the only country that nears the United States in output of superheroes.[citation needed] The earlier of these wore scarves either in addition to or as a substitute for capes and many wear helmets instead of masks.

Japan

Japanese superheroes date back to the 1930s, when some of the earliest superpowered costumed heroes appeared in Japan's

Ōgon Bat, who debuted in 1931, and Prince of Gamma, who debuted in the early 1930s. They anticipated several superhero fiction elements and superpowers that later appeared among American comic superheroes such as Superman (1938 debut) and Batman (1939 debut).[19][20]

The iconic manga series Astro Boy (1952–1968) by Osamu Tezuka is considered to be the first[54] superhero[55] of Japanese manga and anime, and considered to be one of the most influential works in the medium to date.[56] The character of Astro Boy (Atom) himself is sometimes considered the manga equivalent to Superman,[57] due to the influence and popularity[58] of the character and the series.

Additionally,

Casshern, Devilman, Dragon Ball,[59][60] The Guyver, One-Punch Man, My Hero Academia and Sailor Moon are popular series of Japanese anime and manga. Japanese manga that target female readers include varieties such as "magical girl" (e.g. Sailor Moon and Cardcaptor Sakura
).

Other countries

In 1947, Filipino writer/cartoonist Mars Ravelo introduced the Asian superheroine Darna, a young Filipina country girl who found a mystic talisman-pebble from another planet that allows her to transform into an adult warrior-woman. She appeared in her own feature-length motion picture in 1951 and has become a cultural institution in the Philippines.

British superheroes began appearing in the

Zenith. Judge Dredd
is also a well known British comics character.

In France, where comics are known as

alien
Wampus. Many were short-lived, while others rivaled their inspirations in longevity and have been the subject of reprints and revivals.

In the late 1980s,

Doga. Indian superheroes have also made their presence felt in other media including television and movies over the years. Notable among these are Shaktimaan, Mr. India, Krrish, Chitti and G.One
.

In 1954, Brazilian filmmaker Rubem Biáfora introduced Capitão 7 (Captain 7), the first Brazilian superhero (described as a mix of

TV Record, later the superhero was adapted into comics as well.[62]

On Middle East Kuwait-based company Teshkeel Comics after translating American comics also published an original superhero comic book series, The 99. The 99 debuted in May 2006, and continued to be published until September 2013. Teshkeel published The 99 in English, Arabic, and Indonesian, among other languages.[63] The 99 was distributed in North America via Diamond Comic Distributors.[64]

Cat Claw is a superheroine co-created by a pair of Serbian comic artists and writers.

Biały Orzeł (White Eagle) is a Polish mainstream superhero created by brothers Adam and Maciej Kmiołek (and

The Punisher.[66]

Malaysia also created a few notable superheroes, such as

Cicak-Man
(who has appeared in two successful comedic superhero films).

In Australia, the print magazine This Mutant Life: Superhero Fiction was launched by editor Ben Langdon as a bi-monthly to publish prose and some poetry (it discontinued accepting poetry in 2011) of original superhuman fiction.

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External links