The Human in Superhuman: The Power of the Sidekick in Popular Culture 1793606943, 9781793606945

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The Human in Superhuman

The Human in Superhuman The Power of the Sidekick in Popular Culture Edited by Sandra Eckard and Alex Romagnoli

LEXINGTON BOOKS

Lanham • Boulder • New York • London

Published by Lexington Books An imprint of The Rowman & Littlefield Publishing Group, Inc. 4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706 www​.rowman​.com 86-90 Paul Street, London EC2A 4NE Copyright © 2023 by The Rowman & Littlefield Publishing Group, Inc. All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without written permission from the publisher, except by a reviewer who may quote passages in a review. British Library Cataloguing in Publication Information Available Library of Congress Cataloging-in-Publication Data Names: Eckard, Sandra, editor. | Romagnoli, Alex S., 1983- editor.   Title: The human in superhuman : the power of the sidekick in popular     culture / edited by Sandra Eckard and Alex Romagnoli.   Description: Lanham : Lexington Books, [2022] | Includes bibliographical     references and index. | Summary: "This book examines the role of     sidekicks in superhero narratives, offering insight into their     contribution to the hero's journey and growth through the use of     distinctly human qualities like compassion, empathy, and courage that     enable the sidekicks to help their heroes grow. Chapters include     discussions of Spider-Man, Daredevil, Buffy the Vampire Slayer, Doctor     Who, and more."-- Provided by publisher.   Identifiers: LCCN 2022031488 (print) | LCCN 2022031489 (ebook) | ISBN     9781793606945 (cloth) | ISBN 9781793606952 (epub)   Subjects: LCSH: Sidekicks in comics. | Sidekicks on television.  Classification: LCC PN6714 .H86 2022  (print) | LCC PN6714  (ebook) | DDC     741.5/352--dc23/eng/20220922  LC record available at https://lccn.loc.gov/2022031488 LC ebook record available at https://lccn.loc.gov/2022031489 The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI/NISO Z39.48-1992.

Contents

Acknowledgments vii Introduction

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Chapter 1: Learning to Spin the Hero Web: Adult Mentorship That Inspires and Empowers in Spider-Man Stories Mary T. Christel

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Chapter 2: Foggy Nelson: A Journey from Best Friend to Hero in Daredevil 25 Gian S. Pagnucci Chapter 3: From Typical Teen to Sidekick: The Transformation of Xander in Buffy the Vampire Slayer Jennifer Marmo Chapter 4: The Wakanda Design Group Walter D. Greason



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Chapter 5: Overcoming Great Fear: Jessica Cruz, Mental Illness, and the Green Lantern Corps Eric Hasty

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Chapter 6: What it Means to be Noble: An Examination of Donna Noble’s Importance within the Doctor Who Universe Ariel Mickey

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Chapter 7: Mission Control: Barbara Gordon’s Oracle Breaks the Mold 95 Stephen M. Zimmerly Chapter 8: Iris’s Impact and Inspiration: The Importance of Iris West in The Flash Jennifer L. Toney v

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Chapter 9: Hermione as the Hero: Using Empathy and Connection to Save the Wizarding Community and Educate the Wizard’s Ego 125 Melissa Caliendo and Kerry Carley Rizzuto Chapter 10: What I Need Is You: The Partnership of Bruno Carrelli and Kamala Khan in the Ms. Marvel Comics Margaret A. Robbins

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Chapter 11: You Be the Hero, I Remain the Sidekick?: Rick Jones’ Quest to Save Humanity Anke Marie Bock

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Chapter 12: Agent Margaret “Peggy” Carter: Captain America’s Moral Compass Christopher Jeansonne

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Chapter 13: Alfred Pennyworth, a Superhero’s Mentor: Understanding Effective Mentorship Through Nolan’s Dark Knight Trilogy William O. George III, Wendy Gray Morales, and Jacob George Chapter 14: Humans and Gods: Steve Trevor and Etta Candy Navigating Wonder Woman’s Universe Maryanne A. Rhett Index

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About the Editors and Contributors



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Acknowledgments

I would like to thank my mother, first and always, for always making me feel that women can do anything they set their mind to. As she always said, you are always the hero of your own story, no matter your role in someone else’s tale. I would also like to give a shout out to the best support system of people who never make me feel like my writer mode shortchanges them: my dad, my friends, and my Mahoning Drive-In movie peeps who help me share my love of stories and films. It’s the best role that I never knew I always wanted. Sandy Eckard‌‌ ‌‌

For Katie: The best sidekick I could have ever asked for. And For Michelle: The hero of my story. Alex Romagnoli

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Introduction

The often-cited mantra provided to Peter Parker by Uncle Ben has become the core of superhero literature for the past sixty years: “With great power comes great responsibility.”1 Within that tenet of heroism lies a reality that betrays superheroes whilst simultaneously binding them to perpetual service: if they are consistently devoting their lives to others, how can they ever save themselves? However, superheroes never seem to be able to save themselves. A solitude permeates superhero literature, and that is both self-imposed by the hero and socio-culturally supported by their standings within their fictional worlds as demigods. While not necessarily the traditional hero in the same vein as his Marvel, DC, Star Wars, or Harry Potter counterparts, Doctor Manhattan in Watchmen explored that solitude. One of the most popular issues in comic history is Doctor Manhattan’s origin story in Watchmen #42 which takes place throughout time. This story was designed by Alan Moore and Dave Gibbons to show how the omnipotent being perceived time and experience as fluid with no beginning, middle, or end. Switching seamlessly between the past, the present, and the future initially made for a challenging read, but it created a unique and powerful way to depict how super powerful beings perceived time. However, hidden in that narrative was the solitude of Doctor Manhattan. Throughout much of Watchmen, Doctor Manhattan is depicted as completely solitary, sitting on Mars contemplating his life and eventual actions. The isolation is potent: despite his limitless power, he is utterly alone. As a deconstruction of what superheroes represent, placing the most powerful character in the remotest of places serves as a commentary on how superheroes cope (or cannot cope) with the power they possess. The intrinsic duty of heroes, both fictional and nonfictional, drives their actions to the point of obsession. With fictional heroes in fantasy, that drive and devotion is extreme with many characters sacrificing normal human relationships. Despite heroes’ self-imposed (and often dramatic) dismissal of human relationships, the people they try to distance themselves from are integral to their growth and their psyches. Spider-Man needs Mary Jane. Kamala Kahn needs Bruno. Superman needs Lois Lane. The supporting characters in superhero 1

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literature, fantasy, and science fiction are who ground the powerful characters. In doing so, the non-powered humans become powerful. A ballistic missile cannot stop Superman in his tracks, but Lois Lane can. If Lois Lane is crucial as a balance to Superman—to help him use his powers effectively—then that fact illustrates that she is not just crucial to the hero. Lois, more importantly, has powers of her own—even if those powers are not of the superhuman kind. If we use Lois Lane as an example, then it’s easy to realize that these superheroes do not exist in a vacuum; they do not save others, or grow, or even learn about their powers without the help of those around them. Lois Lane has different roles throughout comics, television, and film that we could label: colleague at The Daily Planet, love interest, competitor for stories, damsel in need of saving—but the umbrella that these labels fall under is that of sidekick. This term is misleading, in a way, in that it has been thought of as “less than” or one-dimensional. However, this book’s focus asserts that the role of the sidekick, much like that of Lois Lane’s importance to Superman/Clark Kent, is essential to growth and effectiveness of the superhero. In Comics as History, Comics as Literature, the authors argue that comic stories “reflect life and history, much like comic books have been doing since their inception.”3 Additionally, as life involves those around you, the reader, so it does with the superheroes that have superpowers. The sidekick, then, does serve to help the hero maintain his/her humanity, learn how to fit in, or find balance. In the case of Lois Lane, she could “keep up” and help with Superman’s adventures.4 Depending on what Superman needs, she can help, and often, it is her abilities that help Superman. Whether it is capturing a bad guy, following leads, or helping to raise a family, Lois Lane is powerful. And that is what this text aims to spotlight: all the characters who contribute to the superheroes success—the sidekicks—are essential to the story and are sometimes overlooked. This volume, then, celebrates the non-powered heroes in superhero literature, fantasy, and science fiction. Even if some of the characters discussed in this volume are not human (Superman, Doctor Who, etc.), they all embody what it means to be a person. They experience joy and sorrow. They win and lose. Sometimes they are right, and sometimes they are wrong. Like all of us, fictional heroes need grounding and a reminder that the struggles of life, which fiction explores through its narratives, are best overcome with the people who believe in us. The characters in this collected volume represent multiple genres and universes. From the halls of Hogwarts where a young woman shines as a standard for all of wizarding kind, to the shores of Themyscira where a World War II pilot must question the concept of “man’s world.” From the clock tower in

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Gotham City where a superhero transcends her former personae, to the streets of Hell’s Kitchen where a promising lawyer supports his wayward and lost friend. . . . All of the characters that grace this volume are powerful despite the absence of a radioactive spider-bite, a Tardis, or a super soldier serum. Christel starts off this volume with Uncle Ben. While Superman may be considered the first modern superhero, Uncle Ben’s advice to a young Peter Parker begins this volume, as the balance of power and responsibility has become the framework for superhero literature. Without that significant mantra, superhero literature (and fantasy/science fiction in general) would not be the same. In this same universe lives Foggy Nelson: friend and confidant of Matthew Murdock, the Daredevil of Hell’s Kitchen. Pagnucci highlights that Being Matt Murdock’s law partner, Foggy Nelson’s relationship with the blind superhero creates a unique dynamic where the two must balance their friendship with the moral dilemma of Matt Murdock being simultaneously a lawyer and a vigilante. Marmo analyzes how Xander Harris from Buffy the Vampire Slayer discovers himself throughout the entirety of the television series. His maturation from awkward sidekick to trusted and knowledgeable companion also helped Buffy grow. That dual growth is indicative of a reciprocal friendship which thrives off conflict as much as it does symbiosis. In the most technologically advanced city on Earth, T’Challa honed his skills through the help of the Wakanda Design Group. Greason explores how, Wakanda having vibranium, the most valuable resource in the Marvel Universe, Black Panther’s allies advise the Wakandan king while utilizing technology to protect his life and save countless others. In particular, Shuri, T’Challa’s younger sister, supports T’Challa as both her brother and as a ruler. Hasty studies the adventures of Jessica Cruz, one of the Green Lanterns. Through this study, the depiction of mental illness in popular culture and comic literature is explored. Historically, that depiction has been inundated with stereotypes that do more to highlight the struggles as opposed to celebrating the achievements of various characters. Jessica Cruz’s depiction in comics challenges those stereotypes. As one of Doctor Who’s many companions, Mickey writes about how Donna Noble transcended the traditional arc of the companion during her adventures with the tenth Doctor. One of the main characteristics of a companion in Doctor Who is to be a foil to the Doctor in order to highlight why humanity is so important to him, and Donna Noble evolved that character archetype into one that not only serves as a foil but also an active questioner of the Doctor’s actions. In Gotham City, Zimmerly explores how Barbara Gordon transcended her first superhero alter ego, Batgirl, and became one of the most important and trusted confidants in the DC Universe: Oracle. That transformation was

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rooted in tragedy, and her ability and strength to overcome that resulted in a character that continues to support and ground the Dark Knight. Toney chronicles the support that Iris West has had for the Scarlett Speedster, The Flash, for over sixty years. Iris’ character has changed with the times from once being a damsel in distress to a confidant that helps shape the very face of the DC Universe. Rizzuto and Caliendo take this volume to Hogwarts School of Witchcraft and Wizardry where Hermione Granger proves herself to be a brilliant wizarding mind. While the wizarding public recognizes Harry Potter as both a celebrity and possible savior, Hermione is the rock which grounds Harry through her deep knowledge problem-solving skills. Kamala Khan and Bruno Carrelli struggle with their feelings for one another, and Robbins explores how that struggle helps both characters grow. With Khan and Carrelli coming from two distinctly different backgrounds and cultures, the familial expectations for them are very different. Despite this, Bruno helps the young Ms. Marvel grow as both a superhero and teenager. Bock chronicles the growth of Rick Jones as a sidekick. Having first helped Bruce Banner with escaping the military after becoming the Incredible Hulk, Jones transitions to a sidekick for Captain America. That transition from avoiding the military to becoming a symbolic member of that same military makes for a unique character deconstruction. While Captain America proved his worthiness by holding Mjölnir at the end of Avengers: Endgame,5 Peggy Carter served as the compass that got Steve Rogers to be so noble. Jeansonne writes about how Carter’s relationship with Steve Rogers helped Captain America become responsible with his newfound power. The mentorship of Bruce Wayne by Alfred Pennyworth became one of the cornerstones of the Christopher Nolan trilogy of Batman films. George, Morales, and George connect the mentorship of Alfred to educational mentorship. As Bruce Wayne grew up, Alfred’s mentoring style needed to change. This chapter explores that change. Finally, Rhett explores the characters of Steve Trevor and Etta Candy. Their original incarnations in the late 1930’s and early 1940’s were drastically different than their movie counterparts. Rhett breaks down how they foiled Wonder Woman during her early growth as a superhero. It is important when reading superhero literature, fantasy, or science fiction to spotlight that while the powerful beings in those stories can perform fantastic feats and be perpetual pillars of hope, they cannot do that alone. All of the heroes in these stories may be strong beyond compare, but even in their fantastical worlds, they are trying to find meaning in the chaos of their lives. Like their real life counterparts, you and I, they need others to help them.

Introduction

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NOTES 1. Stan Lee, Steve Ditko, Amazing Fantasy, no. 15 (1962). 2. Alan Moore, Dave Gibbons, Watchmen, no. 4 (1986). 3. Anessa Ann Babic, Comics as History, Comics as Literature (Lanham, MD: Fairleigh Dickinson University Press, 2014), 8. 4. Tim Handley, Investigating Lois Lane (Chicago, IL: Chicago Review Press, 2016), 6. 5. Avengers: Endgame, directed by Anthony Russo and Joe Russo (Marvel Studios, 2019).

Chapter 1

Learning to Spin the Hero Web Adult Mentorship That Inspires and Empowers in Spider-Man Stories Mary T. Christel

Peter Parker assumes the role of a superhero purely by accident. If it were not for the bite of a radioactive spider, Peter probably would have remained a socially awkward, easily bullied science nerd from Queens. Peter’s origin story centers on how he reacts to acquiring superhuman abilities, to adapting to those evolving skills, and to using his power for the greater good rather than for personal gain. This burden is heady stuff for any young man struggling with normal adolescent challenges of physical, emotional, and social maturation. Peter’s unusual coming of age narrative transforms into a superhero origin story. For Robin S. Rosenberg, such “origin stories show us not how to become super but how to be heroes, choosing altruism over the pursuit of . . . power.”1 Peter Parker learns to be a hero through his interaction with people—young and old—balancing the navigation of life’s challenges and conflicts without any enhanced superpowers. An adolescent protagonist traditionally offers a blank slate often filled with “emotion-driven” actions motivated by a lack of experience that usually temper an adult’s actions and reactions to similar stimuli.2 In the literary canon an “origin story,” which tracks a character’s social and moral development, is classified as a “bildungsroman.” Within the conventions of the genre, the adolescent protagonist comes under the guidance, willingly or reluctantly, of a series of mentors. The lessons learned from both moral and corrupt mentors shape the path the adolescent protagonist will take to become a self-actualized adult. The luckiest protagonists come under the influence of a wise, caring adult they value the most. In Peter Parker’s superhero bildungsroman, his first 7

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and most influential mentor, Uncle Ben, is characterized by both his tragic physical absence and his continuing psychological presence in Peter’s life. Without Ben Parker, Peter Parker/Spider-Man might not have evolved into an ethical crime fighter. Instead, he might have become a common criminal or even an evil mastermind pursuing raw, unbridled power over civic responsibility; it is through this presence and absence that Uncle Ben’s role becomes one of the most influential mentors in Peter’s journey into adulthood. BACKGROUND Despite his death early in the Spider-Man canonical chronology, Ben Parker derives his considerable moral power from simple human goodness and a steadfast belief in altruism informed by his working-class values. Those defining values span the character’s appearances in the original comic series set in postwar America through a reboot of the origin story amid the counterculture movement of the 1970’s, and finally solidified in two separate film franchises set in the early 2000’s. Ben’s status in Peter’s development as Spider-Man makes him particularly unique among superhero sidekicks, though typical of a bildungsroman mentor, until the MCU drafts Peter into The Avengers and vanishes Uncle Ben as if Thanos rewrote the webslinger’s narrative with a fateful snap. Peter Parker’s origin story places him in the care of his paternal uncle and his wife, May. Despite the clear generation gap between Peter and his guardians, there is a deep affection expressed in their relationship. In Sam Raimi’s 2002 film, Spider-Man, Peter does not possess any memory of his parents. Similarly, the early comic books don’t reveal the fate of his parents. The legacy of Peter’s parents will be developed in Marc Webb’s The Amazing Spider-Man film series. In Raimi’s trilogy, he is an orphan plain and simple, raised by sympathetic relatives deep into their golden years, a bit out of touch with the challenges facing their adolescent nephew, having not raised any children of their own. In 1960’s slang, they were “square.” Once Spider-Man enters the MCU, Uncle Ben curiously has no place in Peter’s Avengerscentric world with the exception of Ben’s initials embossed on a worn suitcase in Spider-Man: Far From Home. Up until the MCU appearances, Uncle Ben occupies that crucial role in the webslinger’s mythos. When Uncle Ben appears in Amazing Fantasy #15, the first Spider-Man comic, he rouses Peter from sleep to start another school day. The caption reads, “As you may have gathered, Peter Parker was far from being the biggest man on campus! But, his uncle Ben thought he was a pretty special lad.”3 Uncle Ben is drawn as a typical grey-haired retiree, looking more like Peter’s grandfather than his uncle. The next panel shows Uncle Ben, along with Aunt

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May, doting over Peter as he eats his hearty breakfast. No matter what indignities Peter faces at school or in the neighborhood, the reader knows he has a loving refuge at home. When Ben appears again, Peter is in the early stages of his powered transformation. Ben enters Peter’s room to look in on what he is doing along with May, who frets that Peter might be overworking himself. By the time Peter assumes his secret identify as a costumed neighborhood vigilante, Ben and May present Peter with a microscope kit to nurture his love of science. Little do they know Peter himself is an ongoing science experiment. At the presentation of Ben and May’s gift, Peter’s thought bubble reveals he intends to see that his guardians are “always happy but the rest of the world can go hang for all I care!”4 In this earliest version of Spider-Man’s origin story, Uncle Ben functions as part of a team of unwavering domestic support, and he tends to let Aunt May do the talking for the both of them. Uncle Ben does not venture into the outside world that abuses Peter and later challenges Spider-Man’s sense of decency and justice. Peter will discover that a burglar kills Ben at home, a place presented initially as a safe haven from a cruel world. The two are not given any final moments alone for Ben to pass along guidance or words of wisdom. Spider-Man’s pursuit of Ben’s killer comprises fourteen panels, while his discovery of his uncle’s death plays out in only four. The issue’s concluding two panels depict a costumed Peter expressing his guilt over his uncle’s death, since he could have thwarted that same burglar earlier that evening. The phrase, “with great power comes great responsibility,” usually considered Uncle Ben’s dying words, actually appears in a caption in the final panel: “And a lean, silent figure slowly fades into the gathering darkness aware at last that in this world, with great power there must also come—great responsibility!”5 “[I]n the early days of Spider-Man, it was more a matter of [Peter] being driven by the guilt of what happened to Uncle Ben more than a specific sense of responsibility.”6 Compounding his sense of guilt, Peter also will cling to a lingering feeling of shame.7 Initially, Ben’s legacy burdens Peter with tremendous guilt and shame as he struggles to understand his trajectory as a powered human. As a result, Peter gets stuck in the emotion-driven behavior characteristic of adolescence, leading him to take opportunistic advantage of his special skills either to earn money for himself or to punish anyone who wrongs him. Ultimately, Peter must purge the shame that makes him feel small and powerless, recalling his non-powered, bullied self. He must transform his paralyzing guilt and remorse into a desire to make amends and to redirect his human talent along with his superpowers to grow emotionally and psychologically.8 Despite Uncle Ben’s brief appearance in Amazing Fantasy #15, he immediately establishes the virtues of familial stability. Ben projects a supportive and affable demeanor. Along with Aunt May, who appears with him in all but one instance, he provides a loving home front. In its broad characterization

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strokes, this origin story quickly reveals Ben’s primary mentoring role as unwavering cheerleader. He believes in a version of Peter brimming with promise and future success. If Ben stepped into Peter’s immediate reality at school, he might temper those expectations. The reader learns nothing of Ben’s life outside the home, except that he provides that home and caters to Peter’s interests, made evident by the purchase of the science kit. It will take flashbacks and call backs to Uncle Ben in later comics to flesh out his backstory. Over time, the reader learns a younger Ben had stints as a carnival barker, textile worker, and soldier.9 The next Amazing Fantasy #15 narrative explores the loss of the provider in the Parker household and its immediate impact. Aunt May does not have the money to pay the rent. That economic reality, among other money problems going forward, exacerbates Peter’s guilt and creates conflict over how he can remedy their domestic hardship. The characterization of Uncle Ben in this baseline origin story suits its time period. America of the 1950’s and early 1960’s idealized and venerated the nuclear family. Fathers provided sufficient income to support residing in a single-family home, while mothers cooked, cleaned, and kept the home fires burning. Their children contributed to the emergence of a dynamic postwar teen culture. When teens, like Peter’s friends, flexed their personal and social autonomy, the generation gap began to open. Teens felt more and more misunderstood by parents, teachers, and adults in general. Some of those adults viewed teen culture as even “dangerous.” Uncle Ben’s lack of involvement in Peter’s struggles outside of the home epitomizes adults’ general ignorance of what teens actually experienced away from their parents’ supervision, especially the psychological and emotional impact of those experiences. By 2013, in Ultimate Spider-Man Vol. I: Power and Responsibility comic, Brian Michael Bendis reimagines Peter Parker’s origin story and he “turns Uncle Ben into an actual character as opposed to a cardboard cut-out whose sole task is to dish out catchphrases about responsibility.”10 Uncle Ben undergoes a major expansion to suit the times and to reflect the importance he gained over a series of flashbacks and alternate universe narratives since his “first death” in Amazing Fantasy #15. In this version, Ben appears in crucial incidents outside of the family home. His pony-tailed hairstyle and passing comment about his time on a commune reveal Ben’s counterculture past, suited to someone who came of age in 1960’s and ‘70’s. In his first appearance in Ultimate Spider-Man Vol. 1, Uncle Ben unexpectedly arrives in the school cafeteria after Flash Thompson makes sure that Peter wears, rather than eats, his lunch. Ben runs interference to redirect Peter’s attention away from the humiliation he suffers in front of his peers, so he is well aware of Peter’s social struggles at school. Home life presents its own quotidian tension requiring Ben’s attention. Over dinner, a wellintentioned Aunt May frets about how quiet Peter has become, so Uncle

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Ben intervenes with his own assessment that the boy is “contemplative,” and “a thinker,” not plagued with “S.A.D.” (social anxiety disorder) as Aunt May suggests. A hearty breakfast or a plate of milk and cookies offered in Amazing Fantasy #15 will not provide a simple solution to Peter Parker’s adolescent funk. IMPORTANCE OF THE SIDEKICK Peter’s relationship with Uncle Ben is tested over three crucial confrontations in Ultimate Spider-Man Vol. I: Power and Responsibility. Unlike the origin story of Amazing Fantasy #15, Uncle Ben and Aunt May are aware of the spider bite incident and participate in Peter’s resulting medical treatment. Ben’s level-headed response to the strange industrial accident precludes any interest in suing Norman Osborn and Oscorp, the site of the incident. Ben doesn’t want to spoil Peter’s friendship with Harry Osborn, probably his nephew’s only friend. The first confrontation related to the spider bite incident tests Ben’s understanding nature when he finds out Peter has been skipping school. Peter secretly has been testing out his newfound powers. The tenor of the argument centers on the typical “school isn’t the party you think it is” vs “well you are not supposed to be having a party . . . you’re supposed . . . to learn.”11 A fight back at school between Peter and Flash Thompson touches off the next confrontation. The effects of Peter’s early physical transformation leads to Flash’s serious injury and a hefty hospital bill the Parkers must settle. Ben reacts in a surprisingly aggressive manner to Peter with a “that’s not what we taught you” response. After confronting Peter, Ben is more reflective and understanding in a private moment with May, when he attributes his nephew’s behavior to “growing pains” and “a tough week.”12 The tension between the two reaches its height when Ben receives a report card indicating Peter’s grade in English has gone from an “A” to a “D.” Skipping school (to complete secret research on the spider bite’s effects) and developing an interest in sports (to cover his foray into wrestling for prize money) mark Peter’s “change in priorities,” which infuriates Uncle Ben and escalates Peter’s frustration with his guardians to the point he tells them, “Screw this.” Pretty salty language in Peter Parker’s polite home. Peter and Uncle Ben finally get the chance to have a meaningful and prolonged interaction about all the drama characterizing their lives since the field trip incident. In that scene, Ben displays the empathy readers and viewers associate with him, which only can be inferred by his earlier iteration in Amazing Fantasy #15. In eighteen panels across three pages, Ben talks about what a good and smart kid Peter always has been. This conversation easily could have veered into a fourth confrontation, since it takes place after

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Peter has stayed out all night at a party. Instead, it allows Ben to introduce a “philosophy” he credits to Peter’s father, who is referenced briefly and periodically throughout this origin story. This standard of behavior presumes a person has a responsibility to share their gifts “that [help] people or [make] people feel better about themselves.” Ben adds his own interpretation to his brother’s philosophy as it pertains to Peter, “Don’t try to be something else. Don’t try to be something less. Great things are going to happen to you and your life . . . and with that will come great responsibility. Do you understand?”13 Here the guiding principle for Peter’s development as an ethical superhero springs from his absent father, transmitted through and amplified by the man who raised him and provided a day-to-day model of decency and empathy to emulate. And, that “great responsibility” principle is not reduced to a catch phrase or tagline—or uttered with Uncle Ben’s dying breath. Uncle Ben’s death in this version follows the contours of the earlier origin story. This time Peter is out of the house trying to sort through the talk he had with Ben about the importance of sharing one’s gifts wisely and responsibly even though his evolving powers have rendered him “a freak.” Once again, Ben is killed during a home break-in. The details of his death are recounted by Aunt May as she is interviewed by the police. She recalls how Ben tries to reason with the Burglar. Uncle Ben, always the mediator, tries to see the best in the worst of situations. This time it costs him his life. When Peter as Spider-Man apprehends the Burglar, he turns out again to be a criminal Peter could have stopped and handed over to the police in a previous meeting. Unlike the earlier depiction of the aftermath of Ben’s death, Peter internalizes the lesson his uncle imparted: “It’s all so clear Uncle Ben . . . I see the world clearly now . . . and I see what my place is in it. You were right—With great power comes great responsibility. Absolutely. . . . I will never let you down again, Uncle Ben.”14 Gary Moloney points out that “[m]ost Spider-Man stories emphasize the importance of [Uncle Ben and Peter’s] relationship after Ben’s death and we know very little about him, but by making their relationship central to the story in the lead up to it, it makes his death all the more tragic.”15 This relationship becomes a crucial element in the film adaptations from Sam Raimi and Marc Webb. From that point on, the catchphrase “with great power comes great responsibility” and its association with Uncle Ben become canon. In the first film of Raimi’s trilogy, the character of Uncle Ben takes much of its inspiration narratively and emotionally from Amazing Fantasy #15. Cliff Robertson’s casting recalls some of the physical features of the original artwork. Though instead of rousing Peter from his slumber, Uncle Ben is introduced performing a menial household task, changing a light bulb in a kitchen-ceiling fixture. The accompanying dialogue establishes he is a sixty-eight-year-old electrician, recently laid off from his long-time job

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and probably facing forced retirement. An optimistic Aunt May assures him that he certainly will find another job, but the viewer assumes at his age he probably will not. Ben does not wallow in his own misfortune and his attention turns to Peter who is ready to go off to a school field trip. Uncle Ben’s characterization ticks all the boxes of the concerned parental figure with lines like “teenagers [are] . . . all raging hormones” when his nephew’s erratic behavior defies easy explanation. Peter teasingly recites Uncle Ben’s familiar disciplining banter, “Don’t start without me. . . . Don’t start up with me.”16 Uncle Ben is filled with patience and platitudes. A blue-collar working man, who found his purpose in his job only to be cast aside, might be fated to fade into insignificance. Upward mobility seems elusive in the Parker household. Ben’s fate might be Peter’s as well over time, but his accidental exposure to the radioactive spider’s venom changes everything for him. Unlike his Amazing Fantasy #15 counterpart, Uncle Ben fatefully leaves the comfort of his working-class home and drives Peter to the library. Uncle Ben has no knowledge of the spider bite incident, but he knows for certain something has been bothering Peter. To directly address the abrupt changes in Peter’s behavior, Ben earnestly and tactfully shares some parental advice. Ben admits that he doesn’t fully know who Peter is at this moment, but he recalls experiencing a similar phase in his younger life. He cautions Peter: “These are the years a man changes into the man he will become for the rest of his life. Be careful what you change into.”17 Uncle Ben squarely imparts the “with great power, comes great responsibility” message to Peter in this conversation. Ben expresses his concern over the fight Peter had with Flash at school: “just because you can beat him up doesn’t give you the right to.”18 Since Peter has more pressing concerns to earn money to impress Mary Jane with a car like Flash Thompson’s, he angrily and impetuously rejects Ben’s advice. In Peter’s mind, there will be time for this talk, another day. It isn’t an evening of study ahead for him, but a night of wrestling to earn some quick cash exploiting his newfound strength and agility. Uncle Ben’s iconic piece of parental advice, “with great power, comes great responsibility,” has its own intriguing backstory. First of all, it possibly has biblical origins. “[T]he earliest similar quote can be found in the Bible, in Luke 12:48: ‘From everyone who has been given much, much will be demanded, and from the one who has been entrusted with much, much more will be asked.’”19 Perhaps how Ben’s advice echoes religious teaching gives it moral heft. In the political world, FDR drew on similar concepts when he “said, ‘We cannot deny that power is a factor in world politics any more than we can deny its existence as a factor in national politics. But in a democratic world, as in a democratic Nation, power must be linked with responsibility, and obliged to defend and justify itself within the framework of the general good.’”20 Winston Churchill picked up this theme “in 1906,

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[when he] said, ‘where there is great power, there is great responsibility.’”21 Churchill himself might have been inspired by William Lamb in 1817 or Reverend John Cumming in 1847 who both wrote about how “power” and “responsibility” should be intertwined.22 Stan Lee could have also drawn inspiration from another superhero, Superman. In the character’s first live action serial, Superman Comes to Earth, “Eben Kent . . . imparts to his stepson, Clark Kent . . . , the phrase, ‘Because of these great powers, your speed and strength, your x-ray vision and supersensitive hearing, you have a great responsibility.’”23 Whatever the inspiration, once the theme is associated with Uncle Ben it becomes fully integrated into the Spider-Man mythos. Nathan Miczo, in How Superheroes Model Community, focuses on why the phrase has such dramatic and lasting impact, especially how it is presented in Raimi’s film. According to Miczo, this seminal piece of advice should be viewed as a “memorable message” which “[is] remembered for long periods of time and [has] significant influence on behavior.”24 Shifting this theme from an authorial comment in a caption to a line of dialogue delivered by a trusted mentor gives the message so much more power. For a memorable message to be most effective, “it is short and concise, and taking the form of an adage or proverb.”25 Even in its brevity, a memorable message should promote important normative behavior and “prescribe rules of conduct that are attributable to a variety of similar situations.”26 What Uncle Ben imparts to Peter is meant to inform his current life as a struggling teen, for that is how Uncle Ben perceives his nephew, but it resonates deeply into his future as a superhero. Plus, it has universal relevancy for Spider-Man’s readers and viewers, many who are teens and young adults themselves. In Raimi’s film, the import of “with great power, comes great responsibility” does not hit Peter until he discovers his uncle dying on the sidewalk, the victim of a thief/carjacker Peter could have thwarted earlier that evening after the wrestling match. Peter had that power to prevent Uncle Ben’s death, but he callously let the thief escape to punish some else who wronged Peter. Robin S. Rosenberg observes, “Spider-Man’s heroism [is] an example of how random adverse events cause many of us to take stock of our lives and choose a different path.”27 Ben’s memorable message expands into a personal credo, a heroic raison d’etre, that explicitly spells out what Peter needs to do as an adolescent adult-in-formation, powered with mutated strength and skills. The trauma of Ben’s senseless death opens Peter up to the wise counsel he was earlier too preoccupied to really hear and to value. As with other iterations of Spider-Man and other superhero-in-formation narratives, Peter will need to use his pain to galvanize his path and purpose while staying true to Uncle Ben’s “memorable message.”

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Marc Webb’s film, The Amazing Spider-Man, draws on many of the character traits attributed to Uncle Ben in Ultimate Spider-Man Vol. I. The character’s energy is much more vibrant and confrontational than Uncle Ben in Raimi’s Spider-Man. In this version, Ben clearly lives in the shadow of Peter’s father. The film opens with the flashback of Peter’s parents leaving their young son in the care of Ben and May as they flee with whatever scientific data they can gather. Peter moves from a world of scientific wonder and discovery to a more pedestrian working-class home. Ben is acutely aware of living in his brother’s shadow with Peter, but he takes his role as a good provider and a moral compass very seriously. His moment to impart the “great responsibility” lesson is similar to how it unfolds in Ultimate Spider-Man Vol. I, though not expressed necessarily with the proverb-like pith of a “memorable message” as it does in Raimi’s film. Webb’s Uncle Ben models FDR rather than Winston Churchill to deliver his signature advice. When Peter fails to pick up Aunt May as promised, an irate Uncle Ben shares his brother’s, Peter’s father’s, philosophy: “He believed if you could do good things for people you had a responsibility to do those things. A moral obligation, really. That’s what’s at stake here. Not choice. Responsibility.”28 Peter does not let the lesson sink in, rather he acts on impulse and indulges in emotion-driven behavior by storming out of the house and into a fateful altercation at the bodega down the street. Uncle Ben delivers his “great responsibility” message in anger and frustration unlike the earlier film and comic book versions, and he takes the lesson a step further when he leaves Peter this voice message: I know things have been difficult lately and I’m sorry about that. I think I know what you’re feeling. Ever since you were a little boy, you’ve been living with so many unresolved things. Well, take it from an old man. Those things send us down a road . . . they make us who we are. And if anyone’s destined for greatness, it’s you, son. You owe the world your gifts. You just have to figure out how to use them and know that wherever they take you, we’ll always be here. So, come on home, Peter. You’re my hero . . . and I love you!29

Peter never gets a chance to acknowledge this support directly to his uncle, since Ben dies on the pavement soon after he records the message. Again, Uncle Ben is the victim of a criminal Peter could have thwarted moments before at the bodega. Peter retains the voice message as tangible proof of Ben’s love and understanding—and willingness to set aside his anger and frustration. This element extends the thread that Ben sees greatness in Peter without knowing or understanding the superhero he is becoming. Peter has the potential for greatness in Uncle Ben’s eyes in his normal, human, non-powered state. Since Peter has the ability to play and replay the voice

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message, the speech takes on a certain tragic grandeur. Since the memorable message from Spider-Man (2002) has become so ubiquitous, it plays in the viewer’s head even when it is not spoken on screen. The various iterations of Uncle Ben in the comics and the movies emphasize his physical absence in Peter’s life and the limited yet profound mentorship Ben provides. Marvel’s What If? series creates several narratives that allow Uncle Ben to survive and to continue mentoring Peter. In What If . . . Spider-Man Had Stopped the Burglar Who Killed His Uncle? (Volume 1 #19), Spider-Man has become a television sensation, similar to a storyline in Amazing Fantasy #15. When he encounters the Burglar at the television studio, this time Spider-Man chooses to apprehend the criminal instead of brushing off that responsibility. Peter considers the publicity of catching the thief would bolster his celebrity and increase his fame. The narrative reimagines the origin story in other important ways as well. Ben then doesn’t die at the hands of the Burglar, and Peter reveals himself as Spider-Man to his guardians. Since he lives, Ben provides some counsel to his nephew on the pitfalls of celebrity and urges Peter to focus on completing his education. Solid middle-class values remain central to Uncle Ben’s worldview and he isn’t dazzled by Peter’s superhero persona or the fame attached to it. Instead of taking such well-intentioned advice to heart, Peter rejects it to pursue a movie career. In a second speculative narrative, What If . . . Spider-Man’s Uncle Ben Had Lived? (#46) makes Aunt May the tragic victim of the Burglar when she goes to check on noises downstairs. In this alternate universe, Uncle Ben pieces together a series of interactions with Peter’s friends and Peter himself to deduce that his nephew is Spider-Man. When Peter leaves the house after discovering Aunt May died, Uncle Ben assumes Peter is dealing with his grief by leaving the scene of the tragedy. After a conversation between Ben and Peter about an article in The Daily Bugle criticizing Spider-Man’s exploits along with Ben’s discovery of the superhero suit, Peter reveals he could have stopped the criminal earlier the night May died. Instead of blaming Peter for May’s death, Ben expresses his guilt over sleeping through the deadly confrontation. In this version, both Ben and Peter share the guilt. Though as Peter consoles his uncle, Ben tells Peter to follow his own advice to not feel guilty: “I think Spider-Man is doing the right thing. You should keep on doing it! Not because you feel guilty! Fight the evil in the world—fight it for all the other wonderful but fragile people who need protecting!”30 Uncle Ben sets the agenda for Spider-Man’s ethical use of his superpowers to serve the greater good and not just to benefit himself or his loved ones. The two of them become a united front developing Spider-Man’s mission to serve and protect the helpless as well as combatting John Jameson’s smear campaign in The Daily Bugle. To the latter end, Uncle Ben storms

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into the newsroom to confront Jameson, a particularly ironic move since Ben initially agreed with Jameson’s characterization of Spider-Man as a menace. Before he knew his nephew’s superhero identity, Ben said, “Maybe being a vigilante isn’t what upsets Mr. Jameson about Spider-Man—maybe because Spider-Man hides behind a mask—not taking responsibility for what he does.” Ben wants Jameson to stop slandering Spider-Man, so Peter can “have pride in what [he] does.”31 In his efforts to prove to Jameson that Spider-Man is not a reckless, attention seeking menace, Ben reveals the web-slinging crime buster’s identity, much to Peter’s dismay. As a result of Uncle Ben’s ongoing influence on and interactions with Peter, “[i]n this universe, SpiderMan becomes notably more confident and effective as a result.”32 2004’s What If . . . Aunt May Died Instead of Uncle Ben? featured yet a third speculative narrative created in a conversation between Stu, a comic store owner, and a fanboy, who both draw on their knowledge of the comic and film narratives for their own version of that fateful night and its aftermath. This time around Uncle Ben actually ends up going to jail in Peter’s place when Spider-Man could be accused of pushing the Burglar to his death instead of trussing him up for the cops to arrest as Spider-Man did in the first version. While Uncle Ben steps out to buy a gallon of milk and Peter is not home, Aunt May is shot by the Burglar. Immediately, both Ben and Peter express mutual grief and guilt over May’s murder. Once Peter’s emotions shift to outrage, he reveals his Spider-Man identity to Ben and pursues his aunt’s murderer. Ben follows Peter to the warehouse where the police know the Burglar has holed up. When the Burglar falls from the window backing away from Spider-Man, the cops assume the criminal has been pushed out. Ben confesses to the crime and “takes the rap for his only child.”33 Peter’s grief and guilt doubles with the loss of both Aunt May and Uncle Ben. Without effective, mature guidance, and now a rudderless ward of the state, Peter does not direct his superpowers to serve the greater good and he ends up in a juvenile detention center. When Peter seizes the opportunity to break his uncle out of jail, Uncle Ben delivers ethical, inspirational counsel hopefully to redirect Peter’s purpose: “You’re right. . . . Life isn’t fair. But you’ve got to take responsibility for your own decisions. You’ve been given great power, and because of that you have great responsibility.”34 Ben tells Peter to ask himself what would make Aunt May proud: helping the helpless or “continuing down a destructive and selfish path.”35 Peter confesses to Ben he could have prevented May’s death by thwarting the Burglar in an earlier altercation, but he chose not to help out the cops. With utmost compassion and understanding, Ben talks about the importance of second chances and moving ahead in life on a different, better path “to honor May’s memory.”36 The future can be altered, not the past. Peter puts that advice into action by focusing on his studies, forming healthy relationships, and letting his

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superhero activities go dormant unless something “really big comes along that only he can handle.”37 Once Peter’s uncle is released, they become a crime fighting team, with Ben monitoring the police scanner and directing Spider-Man to crime scenes. Of all the What If? scenarios, this one demonstrates the sacrifices Uncle Ben would make for Peter. Stu, the comic store owner, debriefs his speculative narrative by pointing out Peter is “more . . . well-adjusted” in this version because he is honest with Ben about his alter ego and his responsibility for Aunt May’s death.38 When Peter is “more open and accepting of the wisdom” of Uncle Ben he has a better chance to reach his potential as a human and as a superhero.39 Once Spider-Man joins the MCU, first appearing briefly in Captain America: Civil War, Uncle Ben appears only as a set of initials on a suitcase Peter Parker takes with him to tour Europe with his classmates in Spider-Man: Far From Home. Spider-Man’s MCU narrative does not begin with his origin story. He already has transformed into a mutated, powered human, though he is still rough around the edges as newly formed adolescent superheroes go. To gain some polish and a clearer purpose, Peter needs a mentor. This time he is not a relative, and this time he is a powered human: Tony Stark/ Iron Man. MCU’s Peter Parker idolizes Tony Stark even before they meet, so that mentor replacement for Uncle Ben makes absolute sense. Aunt May still figures into his domestic sphere, now as a younger, attractive, vital woman. Tony Stark thinks Aunt May is “hot” and she catches Happy Hogan’s attention as well. Rick Austin views this iteration of Aunt May as more of a “big sister” rather than a conventionally maternal figure, not a domestic damsel in distress.40 Peter’s peer group takes on a larger role as key influencers offering him a range of allies and antagonists offering varying degrees of support and conflict. Uncle Ben will need more than a pithy catchphrase to stand out among these potential mentors and influences in the MCU. Some critics of the latest onscreen franchise have deemed the absence of Uncle Ben a problem when considering how this version fits into the larger Marvel mythos or canon, especially since the character is effectively erased, reduced to an Easter Egg feature rather than an inspirational force even in his absence. This shift could be attributed to Spider-Man on film moving from Sony Studios to Marvel/Disney Studios. Uncle Ben and his catchphrase might be considered the “intellectual property” of Sony. Though one particularly attentive viewer theorized on Reddit that Uncle Ben might have been introduced in the MCU as early as Iron Man (2008) in the form of a reporter sporting the name “Ben” on his I.D. tag.41 The MCU’s third web-slinger installment, Spider-Man: No Way Home (2021), still does not bring Uncle Ben into the narrative but it does integrate “[w]ith great power, there must come great responsibility” into a

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catastrophically pivotal moment.42 In this iteration, a dying Aunt May delivers the directive to her nephew knowing full well he is Spider-Man and the fate of the world is in his hands at that moment. Her death is not the consequence of trying to thwart a common neighborhood burglar but Peter’s inability to contain a supervillain. According to screenwriters, Erik Sommers and Chris McKenna, they wanted MCU Peter to endure a shattering loss to put him on par with the “other” Peter Parkers he meets when the multiverse’s parallels collide.43 His Spider-Man counterparts have the advantage of hindsight to assess the impact of their own losses and sacrifices, which helps MCU Peter to understand revenge is not the balm for his pain and will not fill the void of losing May to the Green Goblin’s villainous cruelty. In this narrative, the lesson becomes one of redemption. Aunt May is put in harm’s way because Peter wants to rehabilitate the villains assembled from across the multiverse by Doctor Strange’s bungled spell. Even Aunt May supported Peter’s dangerous enterprise to return the villains to their human and humane forms. Consequently, Peter cannot waiver from fulfilling that noble aim; otherwise, May’s death is truly senseless and even more tragic if those villains prevail. Without May’s death, “Peter would never reach his full Spider-Man potential. Now, Peter is ready to start fresh and embrace a more mature side of his superhero persona.”44 When fans of MCU Spider-Man thought Ben’s seminal influence was lost to Peter, it took an audacious flip of the script to make it manifest and powerful. The MCU shifts these “origin story” tropes from the comics and other film franchises to the “maturation phase” of Spider-Man’s saga and it gives Peter Parker a blank slate in the next cinematic chapter as all memory of him has been erased.45 With the prospect of future movies and comics, Peter Parker may get a chance to review the loss of key mentors on his superhero journey and to determine how he will forge a path forward informed by the impact of lessons learned from a father figure or a surrogate for Uncle Ben. Peter Parker encounters a number of mentors who could have replaced Uncle Ben’s enduring inspiration and guidance as Tony Stark does in the MCU. Most notably, and making that devastating return in No Way Home, there is Norman Osborn, a wealthy industrialist like Stark as well as father of Peter’s best friend, Harry, who takes an interest in Peter’s earnest, brainy nonpowered aptitude and ambitions. Oscorp could provide Peter a prime opportunity to nurture and hone his interest in science. In Sam Rami’s film trilogy, Osborn regards Peter as the son he wished he had. Peter has a healthy respect for Osborn and the financial support he provides the two young men as they strike out on their own, but Osborn never imparts any discreet, positive lesson for Peter to digest and embrace as Uncle Ben does in the conversation they have before Peter goes off to his first “prize fight” in Spider-Man (2002). The lesson Peter ultimately learns from his interaction with Norman Osborn emerges when

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Spider-Man battles the Green Goblin and unmasks the villain as his best friend’s father. Osborn undergoes a science-based transformation much like Peter does, though the origins and end results of those transformations could not be more different. Peter’s transformation is accidental, where Osborn’s is intentional. Norman Osborn/Green Goblin evolves into a maniacal agent of chaos, while Peter, under Uncle Ben’s influence, becomes a defender and preserver of social order. The most enduring influence on Peter Parker’s mission as a powered adolescent comes from durable, humble, middle-class values embodied by Uncle Ben and not from sources of wealth, power, scientific accomplishment or superhuman abilities. Peter will continue to encounter accomplished men of science and technology as potential mentors and father figures to replace Uncle Ben. Peter actually meets one of his father’s colleagues, Dr. Curtis Connors (aka The Lizard), in the first of Marc Webb’s The Amazing Spider-Man films. That franchise opens with a flashback to characterize Peter’s father, the circumstances of his disappearance, and Peter’s vivid memories of him. Those memories and resulting idealization of his father complicates Peter’s relationship with Uncle Ben. The possibility of working with Dr. Connors allows Peter to connect more directly with his father’s research and someone else who feels marginalized by his otherness. Connors’ physical deformity, a withered arm, creates the temptation to accelerate human testing on a discovery that would allow that limb to regenerate. Peter witnesses how valuing personal gain over ethical action leads to catastrophic consequences. Without knowing the full context of Peter’s interactions with Connors/The Lizard, Uncle Ben directs his nephew to consider the responsibility one must assume and direct that impulse to do good things for other people, not just for oneself. Connors models the tragedy of indulging in the deliberate, self-serving application of risky scientific experimentation. Uncle Ben urges Peter that he “owes the world [his] gifts” a principal his father followed and needs to find the right path to fulfill the moral obligation—and responsibility—that comes with power that isn’t necessarily “superpowered.” Ben considers Peter a hero even though he never discovers Peter’s superhuman gifts before his death, which might have been prevented without particularly extraordinary means if Peter delayed or thwarted the petty thief who later kills Uncle Ben. Mentors/father figures like Norman Osborn and Curtis Connors draw Peter off the “with great power comes great responsibility” path with the promise, albeit fleeting, of unbridled power and world domination. Uncle Ben’s lesson is too far ingrained in Peter’s superhuman identity formation and heroic enterprise for him to succumb. Power is truly in the virtue of service that Uncle Ben espouses for superheroes to thrive and grow. Peter’s MCU mentor, Tony Stark, occupies morally tempered ground since his manufactured

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superpowers are derived out of personal suffering and the recognition of his own hubris. Tony understands and eventually demonstrates “with great power [and wealth] comes great responsibility” to paraphrase Uncle Ben, when he sacrifices himself to thwart Thanos in Avengers: Infinity War and to save humanity. CONCLUDING THOUGHTS As the prototypical teen superhuman, Spider-Man started out as “[n]erdy, neurotic, picked on, and burdened with a whole host of real-life problems” only to become one of the most relatable and popular of Marvel’s superheroes.46 Much of that relatability comes from the legacy of Uncle Ben. Whether Ben dies or lives in any given narrative, he remains the moral touchstone for Peter Parker. As he finds his path from powered opportunist to altruistic crime fighter, Peter learns to meld his superpowers with a mission of moral responsibility. Often, he will be tempted to give into his darker impulses, but Uncle Ben’s legacy of responsibility in the form of either a memorable message or an inspiring speech will help Peter right the course and aim for a higher purpose. As Robin S. Rosenberg asserts, Uncle Ben really taught Peter to be a hero, to be his best self—with or without those superpowers.47 NOTES 1. Robin S. Rosenberg, “The Psychology Behind Superhero Origin Stories: How does following the adventures of Spider-Man and Batman inspire us to cope with adversity?,” Smithsonian, February 2013, www​.smithsonianmag​.com​/arts​-culture​/ the​-psychology​-behind​-superhero​-origin​-stories​-4015776​/ (accessed May 1, 2021). 2. Peter J. Jordan, “Emotions in Comics: Why the Silver Age of Comics Made a Difference,” Robin S. Rosenberg, ed. Our Superheroes, Ourselves (New York: Oxford University Press, 2013), 60. 3. Stan Lee, Steve Ditko, “Spider-Man! Parts 1 & 2,” Amazing Fantasy Vol. 1 #15 (New York: Marvel, June 5, 1962). 4. Ibid. 5. Ibid. 6. Brian Cronin. When We First Met—When Did Uncle Ben First Say “With Great Power Comes Great Responsibility?” July 15, 2015, cbr.com, https:​//​www​ .cbr​.com​/when​-we​-first​-met​-when​-did​-uncle​-ben​-first​-say​-with​-great​-power​-comes​ -great​-responsibility​/ (accessed May 1, 2021). 7. Jordan, 57. 8. Robin S. Rosenberg, Superhero Origins: What Makes Superheroes Tick and Why Do We Care (Scotts Valley, CA: Createspace Independent Publishing, 2013), 194.

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9. Ben Parker (Earth-616), Marvel Database, Fandom website, https:​ //​ marvel​ .fandom​.com​/wiki​/Benjamin​_Parker​_(Earth​-616) (accessed May 1, 2021). 10. Gary Moloney, MFR Book Club: Ultimate Spider-Man Vol. 1 Review, Monkeys Fighting Robots website, July 31, 2015, https:​//​monkeysfightingrobots​.co​/mfr​ -book​-club​-ultimate​-spider​-man​-vol​-1​-review​/ (accessed May 1, 2021). 11. Brian Bendis, Mark Bagley, Ultimate Spider-Man Vol. 1: Power and Responsibility (New York: Marvel August 5, 2009). 12. Ibid. 13. Ibid. 14. Ibid. 15. Moloney. 16. Spider-Man, directed by Sam Raimi (Los Angeles, Columbia Pictures/Marvel Enterprises, 2002). 17. Ibid. 18. Ibid. 19. Rose Moore, Spider-Man: 15 Things You Never Knew About Uncle Ben, Screen Rant, January 12, 2017, screenrant.com/spider-man-homecoming-uncle-benfacts-trivia/ (accessed May 1, 2021). 20. Danny Roth, Spider-Man Borrowed His Most Famous Motto from Another Superhero, Looper.com, February 24, 2021, https:​//​www​.looper​.com​/341108​/spider​ -man​-borrowed​-his​-most​-famous​-motto​-from​-another​-superhero​/ (accessed May 1, 2021). 21. Moore. 22. Ibid. 23. Roth. 24. Nathan Miczo, “The Thoughtful Superhero: Spider-Man and Interpersonal Communication,” How Superheroes Model Community: Philosophically, Communicatively, Relationally (NY: Lexington Books, 2016), 95. 25. Ibid., 95. 26. Ibid., 94–95. 27. Rosenberg, Smithsonian. 28. The Amazing Spider-Man, directed by Marc Webb (Los Angeles: Columbia Pictures/Marvel Enterprises, 2012). 29. Ibid. 30. Peter Gillis, Ron Frenz, Sam de Rosa, Bob Sharen, Jon Morelli. What If Spider-Man’s Uncle Ben Had Lived? #46 (NY: Marvel, 1984). 31. Ibid. 32. Michael Jung, “Spider-Man’s Life Would Be Worse If Uncle Ben LIVED,” Screen Rant, February 14, 2020, https:​//​screenrant​.com​/spiderman​-comic​-uncle​-ben​ -alive​-worse​/ (accessed May 1, 2021). 33. Ed Brubaker, Andrea Di Vito, Laura Villari, What If Aunt May Died Instead of Uncle Ben? Vol. 1, 1 (NY: Marvel, 2004). 34. Ibid. 35. Ibid. 36. Ibid.

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37. Ibid. 38. Ibid. 39. Miczo, 96. 40. Rick Austin, Spider-Man: Where is Uncle Ben in the MCU?, Fortress of Solitude, Nov 2, 2019, www​.fortressofsolitude​.co​.za​/spider​-man​-uncle​-ben​-mcu​/ (accessed May 1, 2021). 41. Zeid Abughazaleh, Spider-Man Theory: The MCU Already Introduced Uncle Ben . . . in 2008’s Iron Man, CBR.com, November 15, 2020. www​.cbr​.com​/spider​ -man​-theory​-mcu​-introduced​-uncle​-ben​/ (accessed May 1, 2021). 42. Spider-Man: No Way Home, directed by Jon Watts (Los Angeles: Columbia Pictures/Marvel Enterprises, 2021). 43. Rachel Labonte, “Why Spider-Man: No Way Home Writers Decided to Kill [SPOILER]” Screen Rant, December 30, 2021. screenrant.com/spiderman-no-wayhome-aunt-may-death-explained/amp/ (accessed February 1, 2022). 44. Allison Degrushe. “Does Peter Parker’s Aunt May Die in ‘Spider-Man: No Way Home’ (SPOILERS),” Distractify, December 17, 2021, www​.distractify​.com​/p​/does​ -aunt​-may​-die​-in​-no​-way​-home, (accessed February 1, 2021). 45. Aeron Mer Eclarinal, “MCU Writers Explain How Spider-Man’s Origin Story Is ‘Born In the Blood’ of Aunt May,” The Direct, February 1, 2022, (accessed on February 2, 2022). 46. Zeid Abughazaleh, Spider-Man Theory: The MCU Already Introduced Uncle Ben . . . in 2008’s Iron Man. CBR.com, November 15, 2020. www​.cbr​.com​/spider​ -man​-theory​-mcu​-introduced​-uncle​-ben​/ (accessed May 1, 2021). 47. Rosenberg, Super Hero Origins, 202.

Chapter 2

Foggy Nelson A Journey from Best Friend to Hero in Daredevil Gian S. Pagnucci

Over the course of three seasons of the Netflix1 series Daredevil, we see two versions of a sign that bears the name of the law firm Nelson and Murdock, Attorneys at Law. The first is formal gold letters on a black background, the kind of sign one associates with the legal world, speaking of stature and confidence, and ability. The second version is a rough sketch drawn on a napkin, thick black letters slightly smudged in places. In the episode “Nelson v. Murdock” we see Foggy Nelson hand this sketch to his good friend Matt Murdock: Foggy Nelson: “Done.” [He smiles looking down at a small napkin.] Run your fingers over this little beauty.” [Foggy pulls his friend’s hand to the napkin, helping him since Matt is blind.] Matt Murdock: “What is it? A napkin?” Foggy: “No, my friend, this is our future.” Matt: “Hunh. It feels like a napkin.” Foggy: “It’s a drawing of a sign. ‘Nelson and Murdock, Attorneys at Law.’” Matt: “You, uh. . . . You really want to do this?” Foggy: “No, I’m pissing my pants. . . . I trust you. You think this is what we should be doing . . . then I’m with you. For better or worse.” Matt: “Sounds like we’re getting married.” 25

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Foggy: “This is way more important than a civil union. Come on, we’re gonna be business partners. We’re gonna share everything with each other. Our thoughts, our dreams, bills, crushing debt.” Matt: “There is no one I’d rather be doing this with, buddy. Seriously.” Matt: “Me, too, pal. Now raise your damn glass, ‘cause I’m gonna clink the hell out of it. [They raise their glasses.] Nelson and Murdock, Attorneys at Law.” Matt: “Nelson and Murdock.”2

That napkin, small though it is, represents the powerful bond between Foggy and Matt. They are best friends and law partners. Matt Murdock is, of course, secretly the superhero Daredevil, a blind man who gained heightened senses and bat-like radar as a child when he was doused in radioactive chemicals while saving a man’s life. While Daredevil has superpowers, it is significant that the law firm lists Foggy’s name first: Nelson and Murdock, Attorneys at Law. Although Foggy regularly plays the role of friend and sidekick to Daredevil, he is also a hero in his own right, both supporting Daredevil’s fight against crime and also challenging New York’s criminals on his own. As Foggy says in the Daredevil episode “Reunion,” “Nobody is above the law. The only thing powerful enough to take down scumbags like him [Wilson Fisk] is the law.”3 This chapter will reveal how Foggy not only supports Daredevil, but also becomes a hero in his own regard. Further, Foggy’s relationship and importance to the Daredevil stories grows over time as he transitions from comedic sidekick to diehard friend to political crusader. BACKGROUND Foggy Nelson first appeared in Daredevil Issue 1 (1964).4 Right from the beginning, Foggy was a friend and helper for Matt. When he first appears, on page 12 of that very first Daredevil issue, Foggy reads a news story to Matt about a boxing match involving Matt’s father. Foggy believes Matt is blind, not knowing that Matt is able to use his superpowers to do things most other blind people cannot, such as read a non-braille paper using the heightened senses of his fingertips. After gangsters kill Matt’s father for refusing to throw a boxing match, Foggy comforts Matt and asks him to join the law office Foggy’s father is setting up: “We’re in business, Matt. With your brains and my dad’s money, nothing’ll stop us.”5 On the cover of Daredevil Issue 1, writer Stan Lee introduced Foggy as “Fun-Loving” Foggy Nelson.6 Foggy was jovial, a big man who joked a lot and was constantly worried about helping to keep his blind friend Matt from

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getting hurt. Of course, readers knew Matt’s secret identity as Daredevil, which made Foggy’s worries so ironic. As the comic book series progressed, its writers adopted a tone of gritty realism. As Romagnoli notes: “Taking superheroes to the ‘street level’ . . . is essentially another way to say that the superhero is subject to the same traumas as everyone else. When compared with other superheroes, Daredevil experiences all-too-real pains, including heartache, depression, and even a nervous breakdown.”7 The Netflix series Daredevil draws heavily on the world of the Daredevil comics, including using the character of Foggy Nelson. As in the comics, Matt (played by Charlie Cox) is best friends with Foggy (played by Elden Henson). The two friends are law partners in Hell’s Kitchen. Just as in the comics, at first Foggy does not know Matt is secretly Daredevil. Eventually, in both the series and the comics, Foggy learns the truth. In addition, in the early Daredevil comics, Matt and Foggy were rivals for the affections of their secretary, Karen Page (played by Deborah Ann Woll in the series). The Netflix series also used this love triangle a bit in a few early episodes, then moved on, establishing Karen and Foggy as good friends. Daredevil also fights a variety of opponents throughout the comic and the Netflix series, but his arch enemy is Wilson Fisk, the Kingpin of Crime (played by Vincent D’Onofrio). Foggy assists Matt as they fight Fisk using the law while Matt secretly fights Fisk’s forces as Daredevil. A more central role that writers of both the comics and television series gave Foggy was to be the primary legal expert in the partners’ law firm. As Karen says, “Foggy’s not just anyone, alright. He’s a kick-ass attorney.”8 We get to see this in Season 2 of Daredevil when Foggy must defend the vigilante known as The Punisher because Matt keeps missing court appointments while he is off fighting crime as Daredevil. In addition, it is Foggy who works to keep the law firm afloat as a business in the comic books, for example chastising Matt in Daredevil Issue 4 when Matt manages to upset the superhero team the Fantastic Four who had hired the law firm to check out the lease on the Fantastic Four’s famous Baxter Building headquarters. During that issue, Matt’s battles with the supervillain Electro take so long that he doesn’t have enough time to actually work on the lease review. This causes the Fantastic Four to leave the law firm in a huff, and Foggy then complains: “Matt . . . how could you lose us four famous clients like them?”9 The humor of Foggy mistaking Matt as helpless is eventually replaced with seriousness when Foggy learns Matt’s secret identity. This transforms Foggy’s minor worry to legitimate fear for his friend, knowing not only that Matt is out on the streets of New York punching criminals, but also that Matt’s violent ways may be irreparably harming his friend: “Maybe it isn’t only about justice, Matt. Maybe it’s about you having an excuse to hit

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someone. Maybe you just can’t stop yourself.”10 Over time Foggy becomes a sort of moral compass for Matt, challenging Matt to think about the motivations for the violent and dangerous life he is living. Finally, in Season 3 of the series, we see Foggy step out of Daredevil’s shadow and take on the role of hero himself. To thwart Fisk’s plans, Foggy decides to run for New York District Attorney, working to protect his friends but also putting himself squarely in Fisk’s crosshairs. But despite Fisk’s threats and manipulations, Foggy pushes to bring Fisk to final justice. Foggy Nelson’s Journey Marvel’s rather challenging legacy numbering system11 puts the comic book title at almost 650 total issues. The title has been running for over fifty years. That’s a daunting pile of comics to try to sort through, so I will instead direct my attention here to the more manageable scope of the Daredevil Netflix series. Over the course of three outstanding seasons of Daredevil, Foggy journeys from the role of comedic sidekick to diehard friend and, finally, to courageous hero. Examining that journey can provide great insight into how Foggy Nelson brings a needed human element to Daredevil’s superhuman exploits. Foggy Nelson: Comedic Sidekick Even more so than the comic book, the Daredevil television series presents us with a dark vision of New York City. Episode one of the series opens with Daredevil ruthlessly battering a group of slavers who have tossed a terrified group of women into a black freight truck. Although Daredevil thankfully saves the women, it is hard to forget their screams of terror. Unlike the bright cinematography of the Marvel Cinematic Universe (MCU) films, Daredevil confronts viewers with the horrors of modern sex trafficking, drug dealing, extortion, and mob violence. To offset the weight of this darkness, the series gives us the cheerful Foggy. Foggy is played by Elden Henson in the series. We first meet Foggy when he calls to wake up Matt the day after the fight with the human traffickers. Foggy wakes Matt with a cheery, “Good morning, sunshine.”12 When Matt moans as he feels the effects of the night’s previous fight, Foggy assumes he’s had a wild night with a sexy paralegal, and they engage in the following conversation: Foggy: “No, I do wanna hear about it! What was she like?” Matt: “Violent.”

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Foggy: “I gotta get the blind thing going. It’s so unfair. Oh, hey! Real estate agent, not your type. Very homely. Might be genetic. No need to be charming. And she kinda told me she thinks blind people are ‘God’s mistake.’” Matt: “That’s a horrible thing to say, Foggy.” Foggy: “I know! In this day and age? All right, shake it. I gotta go bribe a cop.” Matt: “Ah, Foggy.” Foggy: “Kidding, NSA, if you’re listening. But seriously, yeah, I gotta go bribe a cop.”13

Foggy has a biting, off color sense of humor which can be doubly funny because viewers know that Matt’s real reason for moaning isn’t a night of wild sex but instead his night of fighting crime. And although Foggy’s speculations about Matt’s nighttime adventures are wildly off, we do see Matt smile as Foggy talks excitedly. Foggy helps Matt retain his humanity, reminding Matt that there is more to life than being a vigilante. Even if Matt doesn’t partake in most of those normal past times, Foggy’s good nature does regularly get through to Matt, helping him to smile and laugh in the midst of all the difficulties Matt faces throughout the series. I also want to note here that Foggy’s tasteless comment about “the blind thing” is just one of the ways Daredevil explores how society treats people who have disabilities like blindness. I’ll discuss this issue more later, but it is important to mention here that Foggy is not afraid to talk about Matt being blind. In fact, he is able to joke about Matt’s blindness. Those jokes can feel inappropriate, something Matt even points out to Foggy, but it’s significant that Foggy chooses not to treat Matt as limited by blindness. As the series progresses, we see that Matt actually needs Foggy’s positive energy and humor to help him from being swallowed by his own internal darkness, a darkness we learn about in the opening of the series. Following the show’s first credits scene, we find Matt in a Catholic confessional, speaking with Father Lantom (played by Peter McRobbie). Matt is asking for forgiveness before he commits a sin, even though Father Lantom says, “that’s not how this works.”14 But as Matt explains, he is driven to fight by his violent internal nature. He tells Father Lantom: “My grandmother, she was the real Catholic. Fear of God ran deep. You’d have liked her. She used to say, ‘Be careful of the Murdock boys. They got the devil in ‘em.’”15 Matt is filled with anger and rage. He seems to want to do more than just stop criminals, he appears to want to hurt them, meeting out a harsh, physical punishment on New York’s underworld, passing a violent judgment upon them. As Danny Fingeroth discusses in Superman on the Couch, Daredevil, Batman, and other violent superheroes, “are the ones whose roots are in

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grievous injustice—real or perceived or both—done to them. These are heroes whose initial impetus comes from sudden, violent loss or change, or from the wellsprings of childhood anger triggered by some traumatic, science-based calamity.”16 Daredevil lost his sight as a child and then had his father killed by gangsters. This mixture of trauma has profoundly shaped him, making him a ferocious fighter against injustice. He is hell on earth for criminals. In fact, Daredevil doesn’t just defeat criminals, he pounds them into unconsciousness, often in long, drawn-out bloody fist fights. What’s more, these fights, even with Daredevil’s superpowers, seem highly realistic for viewers. As TV critic Steven Wait points out in discussing the hallway fight scene from Daredevil Episode 2, this is because of the outstanding fight choreography in the show: When Daredevil stepped into that hallway to take on a group of Russian gangsters, the result was jaw-dropping. The Marvel series not only gave us a fast, brutal, and messy fight with seamless choreography, stunts, and camera work; it also brought something new to the table—exhaustion. Both Daredevil and the bad guys actually get tired and have to catch their breaths. It’s such a tiny detail, but it added a high dose of realism to the fight and set the bar high for future episodes of Daredevil.17

Daredevil is exciting to watch, and because the criminals in the show are so bad, we know they deserve to be punished. But when we watch Daredevil pound on these villains, as viewers we may also feel a certain uneasiness about the way Matt almost revels in the violence. Perhaps we worry that we are reveling in that violence too. Matt is fighting such terrible evil, evil that often makes us feel helpless. When faced with the reality of horrors like sex trafficking, such as when Jeffrey Epstein’s sex trafficking case became national news,18 we can think, “What can I do about this?” Daredevil lets us channel our outrage into those flying fists of Matt’s. As Matt hits the criminals, we can imagine doing the same thing. We want to exact punishment on these criminals too. Matt has a rage inside him, but as we watch, we sometimes realize that rage might be inside us too. As Fingeroth explains, “Batman and the other angry costumed characters cloak their rage and bloodlust in all sorts of rationalizations and codes of behavior that they themselves establish. But inside them all is an engine of rage and entitlement.”19 Psychological research is still struggling to understand people’s high interest in watching violence like that depicted in Daredevil.20 Romagnoli and Pagnucci discuss the potential impact of superhero stories on children: The superhero story has always been one that incorporated violence into its narrative. No matter the decade and no matter the audience, superheroes have always utilized their fists to resolve problems. Most children are taught growing

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up to keep their hands to themselves, to respect each other, and to treat other people the way they’d want to be treated. . . . This presents a cultural paradox where the educational side of child’s life promotes civilized problem-solving skill development but the entertainment side presents the glory of fighting in multicolored suits.21

Other psychological researchers have worried about the effects on children of watching superhero violence.22 These studies, though, do not suggest banning children from watching superhero content, but rather moderating children’s consumption of it. And Romagnoli and Pagnucci urge parents to supervise children’s consumption of superhero stories to make sure it is age appropriate, but also note that, “For parents, having their children read superhero stories could be a way to help the children learn about values and morals they deem important.”23 In terms of adults, Craig notes that psychological research shows that viewers are most supportive of what they see as justified aggression.24 Craig cites Daredevil as an example. However, as Craig explains, “some literature suggests that violence with a justifiable motive actually arouses more aggression than violence with an unjustifiable motive. . . . This has to do with a theory that when violence is justified, it weakens the inhibitions against violent behavior.”25 In essence, watching Daredevil punch a villain makes us want to punch something too. That violence is just under the surface, and we are at least partially aware of it. Which is what makes Foggy so important, not only to Daredevil, but to the viewer too. Foggy helps to temper Matt’s darkness with his lighthearted nature. He offers needed relief to the weight of Matt’s own violent nature. In the Daredevil episode “Rabbit in a Snowstorm,” Matt walks into the law office as Foggy and Karen are talking. They are both shocked to see two large red gashes around Matt’s right eye. Matt says he “wasn’t paying attention last night; it’s my fault,”26 and pretended he stumbled into something due to being blind. Viewers of course know that Matt uses his superpowers to walk, so he never trips into anything. The gashes are from yet another fight he had the previous night. Although Foggy’s first reaction to seeing Matt’s cuts was to express concern by saying, “Jesus, what happened to you?”27 He then moves to lighten the situation by joking: Foggy: “You need a dog.” Matt [breaking into a grin]: “No, I’m not getting a dog.” Foggy: “What you don’t like dogs? Who doesn’t like dogs?” Karen: “I . . . I love dogs.” Foggy: “Everybody loves dogs.”28

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By making Matt laugh, Foggy helps him to forget, at least momentarily, his war on crime. And because Foggy’s suggestions always are made with no idea about Matt’s superpowers, Matt can’t help but laugh. More importantly, Foggy is also offering Matt a very human idea: Suggesting Matt get a pet dog. Foggy serves an important role of reminding Matt of ordinary, human life. Matt’s violent nature drives him to become obsessed with his crusade as Daredevil, but Foggy, even unknowingly, is working to bring Matt back toward regular life. And although Matt feels too much responsibility to accept normality, Foggy simultaneously helps pull viewers back from that violent dopamine rush of watching Daredevil pound the criminals. Foggy helps viewers to let go of those violent urges and instead return to positive thoughts of the people and animals who care about us in this world. We can’t leave the topic of Foggy’s role as comedic sidekick without paying homage to his fabulous rendition of Gilbert and Sullivan’s The Pirates of Penzance.29 In the article “Elden Henson: 10 Best Foggy Nelson Daredevil Moments,” television critic Ryan Quinn discusses this fan-favorite scene: Shortly after beginning her career at Nelson and Murdock, Karen Page stayed late one night to set up her desk. From the next room, she can hear faint singing. The singing is coming from none other than Foggy Nelson, proudly belting out “Pour, Oh the Pirate Sherry” from Gilbert and Sullivan’s Pirates of Penzance. The lyrics become louder and more shrill before Karen alerts her boss to her presence. Refusing to be embarrassed by Karen, Foggy exclaims that he sounds amazing.30

Foggy’s singing is terrible. He’s totally off-key. But because he boldly claims to sound amazing, the scene is even more hilarious. Although Matt is not in this scene, the stark contrast between the two characters is still clear. There is no way Matt Murdock would ever be caught singing. It’s not even clear that he smiles much if Foggy isn’t around to make him laugh. This contrast is vital to the narrative. Foggy is Matt’s opposite. Foggy is human in ways that Matt seems unable to be. Foggy helps offset both Matt’s and the audience’s desire to do violence to the criminals in the story. Foggy’s singing helps remind viewers that despite all the evil in the world, both the fictional world of Daredevil and our real world, there are good, kindhearted, joyful people in the world. There are people like Foggy who know the importance of making us laugh when we are feeling down or sorry for ourselves. We all need people like Foggy to help keep us from getting buried under life’s problems.

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IMPORTANCE OF THE SIDEKICK In his role as the comedic sidekick, Foggy helps keep Matt linked to his humanity, reminding him, without knowing he’s doing it, there is more to life than being just a crime-fighting superhero. And Foggy isn’t only reminding Matt, he’s reminding viewers too. It’s ok for viewers to want to see criminals punished by Daredevil, but Foggy’s presence helps protect viewers from being caught up too much in Matt’s violence. While few of us have engaged in a fist fight, many viewers will have sung in the shower, and probably just as out of tune as Foggy sings. Thus, even as we cheer on Matt’s superpowered fights, it is Foggy’s human joy with which we can truly connect. We can’t be Daredevil, but in so many ways we already are Foggy Nelson. FOGGY NELSON: DIEHARD FRIEND In both the Daredevil comics and the Netflix series, Foggy and Matt have been best friends since college. They talk, joke, argue, and laugh together. They have the kind of friendship we all want, a rock-solid friendship that is built on mutual admiration, trust, and support. One very significant aspect of this friendship is that Foggy does not care that Matt is blind. Foggy acknowledges the fact of Matt’s blindness, even jokes about it, but he never allows that fact to limit his view of Matt. Like any best friend, Foggy loves Matt for who he is, and nothing can change that, including a disability. The writers of Daredevil are keenly aware, though, that most people are intimidated by meeting a blind person. The series uses Foggy’s ability to joke about Matt’s blindness to challenge the way other people act nervous when they meet Matt. In fact, we see this in the very first episode of Daredevil, “Into the Ring,” when Matt and Foggy are being shown around an office space they are thinking of renting by a real estate agent named Susan Harris (played by Tonya Glanz): Susan [leading Foggy toward an office window]: “You’ve got a reception area, a conference room, and two offices. Corner suite has a view of the Hudson. You can flip a coin with your partner for it.” Matt [entering a bit behind Susan and Foggy]: “Uh, he can have the view.” Susan [blushing after turning around to discover Matt is blind]: “I’m so sorry. I . . . I didn’t mean to. . . . Matt: “Of course not.”

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Susan [stepping toward Matt and extending her arm to shake hands]: “Susan Harris. Midtown Property Solutions.” Matt [not responding to Susan’s hand because he can’t see it]: “Matt Murdock.” [Susan realizes her second mistake, and then half curtsies and makes a small, embarrassed laugh.] Foggy: “She just curtsied. It was adorable.” Matt: “Well it’s nice to know chivalry isn’t dead. Susan, would you mind walking me around this place?” Susan: “Of course. My pleasure.” [Foggy shakes his head in disgust at Matt persuading the woman to take his arm.]31

Susan’s repeated gaffs and embarrassment shows the general discomfort many people have when encountering a person with a disability. Scholars working in disability studies say that such discomfort is often linked to society’s general view of disabilities as problems which require medical treatment.32 These scholars urge us not to define people by their disabilities. Instead, they encourage using person first language.33 Thus, rather than saying “the blind attorney Matt Murdock,” we should shift our language and thereby our thinking to “the attorney Matt Murdock who is blind.” This shift in language emphasizes first that Matt is an attorney and second that Matt is blind, thereby hopefully helping us to focus more on Matt’s identity as a lawyer and less on his identity as a person with a disability. These efforts to improve the treatment of people with disabilities are very important, and there is excellent work now being done. For instance, Lewiecki-Wilson and Brueggemann have published a large collection of essays on how to teach writing to students with disabilities.34 Admittedly, Daredevil does not use such progressive language. If anything, when Foggy jokes about Matt being blind, we may want to cringe. But significantly, the show does not shy away from the idea of Matt being blind either. We do see Matt read braille and navigate spaces with a white walking cane. And almost always, we see that whenever people meet Matt, they treat him nervously, like there’s something wrong with him. Again and again, the show reminds us that all people who are blind like Matt are treated as an other, as different. People who are blind never get to be treated like everyone else. Instead, whenever Matt encounters someone new in the series, they focus immediately on his blindness. Everyone does this to Matt. Everyone, that is, except Foggy Nelson. In the Daredevil episode “Nelson v. Murdock,” we see that right from the start Foggy was not intimidated by learning that Matt was blind:

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Matt: “Excuse me, is this room 312?” Foggy: “Yeah, who’re you looking for?” Matt: “Oh uh, sorry.” Foggy: “What for? You’re blind, right?” Matt: “Uh, yeah, so they tell me. I hope that won’t be a problem.” Foggy: “Why would it? Oh! You’re. . . . You’re my roomie!” Matt: “Uh, Matt Murdock.” Foggy: “Foggy Nelson. Wait, Matt Murdock? Are you—You’re not from Hell’s Kitchen, are you?” Matt: “Yeah, born and raised.” Foggy: “So am I! Yeah, I heard about you when you were a kid, what you did, saving that guy crossing the street.” Matt: “Yeah, I . . . I just did what anyone would have.” Foggy: “Bullshit. You are a hero.” Matt: “I’m really not.” Foggy: “Come on! You got your peepers knocked out saving that old dude.” Matt: “They didn’t get knocked out.” Foggy: “Good, ‘cause that would be a little freaky. But no offense.” Matt: “Please, none taken. Uh—Most people dance around me like I’m made of glass. I hate that.” Foggy: “Yeah, you’re just a guy, right? A really, really good-looking guy.” Matt: “Oh, um . . .” Foggy: “I mean, girls must love that, the whole wounded, handsome duck thing. Am I right?” Matt: “Right. Yeah, it’s been known to happen.” Foggy: “This is gonna be awesome!” Matt: “What is?” Foggy: “Me as your wingman! You’re gonna open up a whole caliber of women I’ve only dreamed of. A lot! We’re gonna be like Maverick and Goose!” Matt: “Okay.”35

In this scene, Foggy’s good natured enthusiasm enables him to immediately accept Matt not as a blind person but as someone with whom he can be

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friends. The two bond instantly, and this is in no small part due to the way Foggy accepts Matt. As Matt says, “Most people dance around me like I’m made of glass. I hate that.” Matt is giving voice to a concern that so many people with disabilities have, that they are not treated like everyone else. Matt says he hates that, and who can blame him? Fortunately, Foggy treats Matt like a person not a blind man. Admittedly Foggy does have a plan to exploit Matt’s blindness to get girls, but he is laughing as he makes that statement and, more importantly, he is also embracing Matt completely, all facets of him including his blindness. Foggy is offering Matt something most people want, to just be accepted for who they are. And so, an unshakeable friendship is born. Except, of course, that Matt has a secret: He’s really Daredevil. Matt never tells Foggy about his superpowers. Despite their long friendship, Matt never chooses to trust Foggy with the truth. And then one night Foggy discovers that secret. At the end of the Daredevil episode “Speak of the Devil,” Foggy has gone to Matt’s apartment to search for him. As Foggy bangs on Matt’s door, he hears a loud crash from inside. He quickly runs upstairs and enters the apartment through the fire escape. The apartment is in darkness, and as Foggy calls out to challenge any intruders, he sees the masked vigilante that New Yorkers have been sighting throughout season one. The vigilante falls to the ground unconscious. As viewers we know this vigilante is Daredevil who has been badly beaten by the ninja Nobu (played by Peter Shinkoda). Foggy cautiously moves to the body which is cut up and bloody. He removes the vigilante’s black half mask and sees the face of his longtime friend, Matt, as the episode ends.36 Throughout the first season of Daredevil, viewers have learned how strong the friendship between Foggy and Matt is. They have shared everything for years and years. But then, in one shocking moment, Foggy learns that he doesn’t really know his friend Matt at all. Foggy isn’t sure what to do. He does try to help Matt recover from the battle wounds, but Foggy is also furious with Matt for never telling him the truth. In the next episode, “Nelson v. Murdock,” Foggy angrily confronts his longtime friend: [Matt pulls at a bandage where one of his cuts has been stitched.] Foggy [off screen]: “Wouldn’t do that if I were you.” [Foggy enters with a beer.] Foggy: “Then again, maybe I would. What the hell do I know about Matt Murdock?” Matt: “You stitched me up?” Foggy: “Nope. That was your nurse friend.”

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Matt: “Claire?” Foggy: “You had me get ahold of her after you took a swing at me for trying to get you to the hospital.” Matt: “I don’t remember. Sorry.” Foggy: “She was hot, by the way. But I guess you already knew that, huh?” Foggy: “Foggy . . . ” Foggy: “Just tell me one thing, Matt. Are you even really blind?”37

Foggy spits that final question at Matt: “Are you even really blind?” But what he is really asking is the equally important question, “Are we even really friends?” In the flashback scene which follows where we see that first college meeting between Foggy and Matt, there is a moment where Foggy says, “See, this is what I’m talking about. Me and You. Maverick and Goose. No secrets.”38 Foggy thinks he and Matt will share everything and be best friends until they die. So, he is hurt almost beyond measure when he discovers the secret Matt has kept from him for so many years. But Matt argues that he has no option but to fight as Daredevil: Matt: “The city needs me in that mask, Foggy.” Foggy: “Maybe you’re right. Maybe it does. But I don’t. I only ever needed my friend. I wouldn’t have kept this from you, Matt. Not from you.” Matt: “You don’t know that. You don’t know that.”39

Matt is so adamant that he must continue his crusade as Daredevil, that Foggy grudgingly agrees to safeguard Matt’s secret. In this way he assists Matt in maintaining his secret superhero identity. He even occasionally takes on the traditional superhero sidekick job of explaining to other people why Matt has disappeared or can’t be found during a crisis since Matt is of course secretly off fighting crime as Daredevil. But more significantly, Foggy decides that along with protecting Matt’s secret life as Daredevil, he also is obligated to help Matt understand the risks that choosing to be Daredevil bring: Foggy: “Every time I walk up those stairs, I wonder if today’s the day you’re dead in the living room.” Matt: “I’m not gonna stop, Foggy. Not anytime soon. And to be honest, I’m done apologizing to you for who I am.”40

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While Matt thinks he must continue to fight crime as Daredevil, Foggy tries to get his friend to think about alternative ways he can fight: Foggy: “Last time you went after Fisk I found you half dead, more than half. You go after him in the mask again he might kill you, or you might kill him which would probably have the same effect on someone as Catholic as you are.” Matt: “What am I supposed to do? How do I stop him?” Foggy: “By using the law.”41

Watching Daredevil, we learn that it is no easy thing to be friends with Matt Murdock. Matt lies to Foggy. Matt refuses to listen to his friend’s advice. He pushes Foggy away. At one point, he even hides from his friend, pretending to be dead. Given all that rejection, who could blame Foggy if he walked away from his friendship with Matt? But he never does. Foggy is a diehard friend and his loyalty to Matt never waivers. As he explains to Karen Page in the Daredevil episode “The Devil You Know”: Foggy: “Has Matt been a shitty friend lately? Without a doubt. But, deep down, I think it’s hurting him as much as it’s hurting us.” Karen: “How do you figure?” Foggy: “Because he could’ve gone to any reporter, Karen, but he came to you. Maybe Matt’s finally coming to his senses. But even if he isn’t, the way he’s been treating us lately is on him. Us turning our backs would be on us. People have bailed on Matt his whole life, and I’m not gonna be one of ‘em. You do what you want, but . . . that’s not the kind of friend I wanna be.”42

It’s easy to be a good friend to someone who’s nice to you and makes good choices for their life. It’s an entirely different matter to be a good friend to someone who pushes you away and makes bad choices for their life. But that’s when friends need each other the most. Which is what Foggy understands and offers to Matt. Foggy is a friend who refuses to ever turn his back on Matt. He is there always for Matt: Nelson and Murdock, to the end. Foggy Nelson: Courageous Hero In the final season of Daredevil (come on, Marvel, bring the series back!), Foggy moves beyond the role of mere sidekick to become a hero in his own right. Foggy does not gain superpowers, so we can’t call him a superhero, but he does gain the courage to challenge Wilson Fisk directly, and that courage helps him not only to assist Daredevil but to become a legitimate hero himself.

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After being arrested, Wilson Fisk cuts a deal to provide information to the FBI in order to clear his wife Vanessa of any wrongdoing connected to Fisk’s own crimes. But even in prison, Fisk has power. After nearly being killed, Fisk is placed into protective custody. However, Fisk orchestrates this transfer so that he gets placed in the penthouse of the “Presidential Hotel.” Fisk is under constant FBI surveillance, but he is allowed to roam free inside the lavish hotel. He even arranges to have his artwork and fine suits returned to him inside the hotel. The series does show a large group of protesters outside the hotel, carrying signs calling for Fisk to be returned to prison. But thanks to jurisdiction policies and, as always in Daredevil, a good deal of corruption, no one seems able to stop Fisk. From atop his new luxury “prison,” Fisk begins to reach out to attack his enemies, which includes Foggy, Matt, and Karen. In the Daredevil episode “Blindsided,” after being threatened by Fisk, Foggy checks and re-checks the locks on his apartment door while his girlfriend, Marci Stahl (played by Amy Rutberg), tries to get him to relax: [Foggy walks to the door and checks the locks.] Marci [calling to Foggy]: “It’s locked, like the last time you checked it.” Foggy: “We need to get another deadbolt installed. A single deadbolt and a measly chain? Might as well put up a beaded curtain.” Marci: “Foggy, relax.” Foggy: “Relax? Are you even listening to me? Wilson Fisk wants my scalp. And for all we know, he wants yours too. It’s not like you’ve done him any favors. And of course, Matt wants me to stick to the sidelines while he deals with Fisk. Only Matt Murdock is fit for the real action, just because I’m not . . . Marci: “What?” Foggy [shaking his head]: “Nothing. I don’t even know what I’m saying anymore.”43

As he rants, Foggy gives voice to the classic dilemma of the superhero sidekick: Without superpowers, the sidekick is seen as unable to defeat the supervillain. Matt has superpowers, and Foggy does not, so of course, Matt wants Foggy “to stick to the sidelines while he deals with Fisk.”44 Foggy is so agitated, he almost reveals Matt’s secret to Marci as he is rambling. But he realizes his mistake, and covers it by saying, “I don’t even know what I’m saying anymore.”45 By catching himself, Foggy is able to return to the role of diehard friend, maintaining his duty of protecting Matt’s superhero identity. What occurs, next, however, moves Foggy beyond the traditional sidekick role into what Zimmerly calls the “secondary hero” role:

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The “secondary hero” is the form of “sidekick separation” that occurs when sidekicks take part in narrative space ample enough for them to emerge in their own heroic roles. This is usually showcased in narratives that take place over multiple novels or through an extended publication history. The sidekick grows beyond the initially established hero/sidekick relationship, and . . . moves into a space where such a relationship no longer fulfills the needs of the character.46

Zimmerly argues that given enough time and narrative development, sidekicks are able to grow beyond their limited support role. Eventually, sidekicks can become heroes in their own right. And this is exactly what happens to Foggy Nelson thirty episodes into the Daredevil series. With his back against the wall, Foggy steps forward to challenge Fisk, claiming the role of hero. Well, as is so often the case, Foggy steps forward once his lover gives him a good shove: Foggy: “Matt was gone. Now he’s back. Fisk is out, and I have no idea where that leaves me.” Marci: “Screw the sidelines. We go on the offense.” Foggy: “Offense? With Fisk? He has the law and the FBI on his side. And it’s not like we’ve heard a statement from the DA condemning his release. No, no, nothing to jeopardize Black Tower’s reelection. God forbid . . . Marci: “Oh that could work. . . . Think about it. The best way to protect yourself from Fisk is to make noise, is to be out in the open.” Foggy: “Oh, like a public execution.” Marci: “Like a public call to action. Alright, if Black Tower won’t do anything to stop Fisk, then run against him for district attorney. I mean, if you’re already a target, you might as well be the first person to take a swing. I’m serious. The more public, the more you’re protected.” Foggy: “There’s no way I can win.” Marci: “Of course not.” Foggy: “Thank you for the confidence. Anyways, we’re light years past the deadline.” Marci: “Then run as a write-in. You base your candidacy on a single issue, putting Fisk back behind bars. You’d bag a few votes. I mean not enough to win, but you’d get the issue out there. Plus you’d make a few friends in the NYPD and that’s not the worst thing for a defense attorney. Or you could keep checking the locks.” Foggy [contemplates for a moment]: “I won’t let anything happen to you.”

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Marci [hugging him]: “Oh, then we better start working on that swing. After coffee. You’re buying [gives him a kiss].”47

This is a such a wonderful scene. Feeling distraught and helpless from Fisk’s threat to his life, Foggy is ready to give up. But Marci, his lover, encourages him instead to take action. Throughout the series, we have watched Foggy act as a loyal friend for Matt. But now, in the eleventh hour, it is Foggy’s own friendship with Marci that gives him the courage to act. She helps him to see the path he needs to take and, buoyed by her strength, love, and support, he chooses to take it. In this moment we see something that the Daredevil series teaches us over and over again, heroes don’t just need powers, they need good friends. So, Foggy sets out to campaign for the New York District Attorney seat. With the help of an old childhood friend, he gets admitted to a meeting of the Patrolmen’s Benevolent Society where he makes a rousing political speech to New York’s finest. Throughout the series, we have often seen Foggy unkempt, disheveled, and a nervous wreck. But in this moment, he stands tall in front of a room full of police officers, and gives the most fiery speech of his life: Officers, I don’t mean to disappoint, but I’m not hear only to talk about Wilson Fisk. With his name on everyone’s lips, he’s getting far more publicity than any cop killer deserves. His name deserves to be buried, buried in the same hard earth where he put your fallen brothers. I’m here to talk about Blake Tower, our honorable district attorney. Here’s a man charged with ensuring the safety of this city, just as you are, and yet, he stands idly by while the feds whisk that monster out of prison and into the warm lap of luxury. Someone smarter than me. . . . That man said, “The only thing necessary for the triumph of evil is for good men to do nothing.” Blake Tower is a good man doing nothing. Which is why I’m running my own write-in campaign for district attorney to oust Blake Tower and to put Wilson Fisk into the deepest prison hole allowable under the Eighth Amendment. And I would love nothing more than to do that with the endorsement of each of you and your illustrious union.48

As Foggy ends his speech, one cop says, “All right, where do I sign up?”49 and then all the other cops file forward to sign Foggy’s campaign petition as Foggy looks out over the room, a big smile lighting up his face. The story continues beyond that moment, and since this is a superhero story, we know good will triumph in the end. That’s one of the great joys of superhero stories, the good guys always win. That knowledge helps us as we watch Foggy Nelson’s journey through the dark world of Daredevil, where all too often it’s the bad guys, not the good guys, who win. But in “Blindsided,” it is Foggy, not Fisk, who wins the day. Foggy stands up to Fisk and in so doing, completes his journey from comedic sidekick to diehard friend to

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courageous hero. Foggy smiles out at the crowd who have become supporters for his campaign, and his smile is the smile of a man who’s taken a stand for what he believes in: Justice. Foggy Nelson: Facing Fear Wilson Fisk is rich, powerful, and dangerous, but in the end, he is just an overgrown bully. And the only way to defeat a bully is to stand up to them. Foggy Nelson can’t beat Fisk alone, but he doesn’t have to. His courage to openly defy Fisk by running for district attorney encourages other people to stand up to Fisk too. And, of course, it doesn’t hurt that Foggy is best friends with Daredevil! In the end, what really matters isn’t the actual battle to defeat Fisk, it’s the decision to stand up to Fisk. Foggy becomes a hero the moment he acts with courage and rises up to face Fisk. In that moment, he moves beyond both comedic sidekick and diehard friend to become something much greater: a courageous hero. CONCLUDING THOUGHTS On the cover of the very first Daredevil comic, Daredevil was called “The Man Without Fear.”50 Foggy isn’t Daredevil. Foggy does know fear, just like we all do. But Foggy’s true power is that he overcomes that fear. It doesn’t take superpowers to defeat evil, it takes courage. Anyone can do the right thing, just like Foggy. Foggy helps his friend over and over again. Foggy uses comedy to make Matt laugh when Matt needs to remember there’s more to life than fighting. Foggy stands by his friend no matter what happens, giving Matt unwavering support even when he’s angry with him. He also tells Matt things that Matt doesn’t want to hear, serving as Matt’s diehard friend even when Matt pushes Foggy away. And then, when it seems that even Daredevil can’t defeat Fisk, Foggy finds the courage to join the fight. He steps forward to challenge Fisk. Foggy has stood by Matt for as long as he has known him, all the way back to when he handed Matt that napkin and said, “I’m with you. For better or worse.”51 Daredevil can be a hero because he has superpowers so he knows no fear. But a true hero does the right thing even when they are afraid. That’s what Foggy does; he challenges Fisk even though he’s afraid Fisk might kill him. Hopefully none of us will ever have to face a Kingpin of Crime, but in every life, there comes a time when each person is called upon to do the right thing. A time comes when we have a chance to speak up for something or someone that matters. A time when we can challenge some act of sexism, racism, or simple cruelty. In that moment, we will have a choice to stand up for what’s

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right or to stay silent. Those moments are never easy. Fighting injustice, fighting bullies, speaking out against wrongs, those are challenges that can scare us into silence. But instead, we must find our voices and speak up. In those moments, we should remember what Foggy Nelson learned in Daredevil: The only thing it actually takes to be a hero is courage. NOTES 1. Daredevil was released by the streaming service Netflix on February 14, 2003. The character’s rights are owned by Marvel Comics which had licensed them to Netflix. Eventually those rights were returned to Marvel and the show moved to the Disney Plus streaming service. Because Daredevil’s entire original run was released on Netflix, I refer to Daredevil as a Netflix series throughout this chapter. 2. Daredevil, season 1, episode 10, “Nelson v. Murdock,” directed by Farren Blackburn, written by Luke Kalteux, Netflix, 2015. 3. Daredevil, season 3, episode 11, “Reunion,” directed by Jet Wilkinson, written by Jim Dunn and Dana Resnik, Netflix, 2015. 4. Stan Lee (writer), Bill Everett (artist and inker), Steve Ditko (inker), and Sol Brodsky (inker), “The Origin of Daredevil.” Daredevil no. 1 (New York: Marvel Comics, February 4, 1964). 5. Lee, Everett, Ditko, and Brodsky, 13. 6. Ibid., cover. 7. Alex Romagnoli, “The Man with Identities: Using Daredevil as an Artifact for Literary Analysis,” in Comic Connections: Analyzing Hero and Identity, ed. Sandra Eckard (Lanham, MD: Rowman & Littlefield, 2017), 26. 8. Daredevil, season 1, episode 7, “Stick,” directed by Brad Turner, written by Douglas Petrie, Netflix, 2015. 9. Stan Lee (writer), Joe Orlando (artist), and Vince Colleta (inker), “The Evil Menace of El!” Daredevil no. 4 (New York: Marvel Comics, August 2, 1964), 22. 10. Daredevil, Blackburn. 11. Marvelguy, Modern Marvel Legacy Numbering Part 1, accessed October 4, 2021, aminoapps.com/c/comics/page/item/modern -marvel-legacy-numbering-part-1/55i5_IML1Gp0gbmk0kR5aBlPnKBn2. 12. Daredevil, season 1, episode 1, “Into the Ring,” directed by Phil Abraham, written by Drew Goddard, Netflix, 2015. 13. Daredevil, Abraham. 14. Ibid. 15. Ibid. 16. Danny Fingeroth, Superman on the Couch: What Superheroes Really Tell Us About Ourselves and Our Society (New York: Continuum, 2005) 121. 17. Steven Wait, “7 TV Fight Scenes That One-Up Your Favorite Movie Beatdowns,” January 13, 2019, www​.fandom​.com​/articles​/best​-tv​-fight​-scenes.

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18. Mahita Gajanan, “Here’s What to Know About the Sex Trafficking Case Against Jeffrey Epstein,” Time, July 17, 2019, time.com/5621911/ jeffrey-epstein-sex-trafficking-what-to-know/. 19. Fingeroth, 121. 20. Mohd Helmi Abd Rahim, Loh Me Ping, Jessica Sim Khai Yin, and Edwin Tan Leng Phil, “The Appeal of Violent Content in Entertainment Media to Malaysian Audiences: An Inquiry into the Influence of Meaning-Making,” Geografia Malaysian Journal of Society and Space 11 (2015): 86–98. 21. Alex Romagnoli and Gian Pagnucci, Enter the Superheroes: American Values, Culture, and the Canon of Superhero Literature (Lanham, MD: Scarecrow Press/ Rowman & Littlefield, 2013), 117. 22. Hannah Schacter, “Let’s Fight (The Bad Guys): Do Superheroes Teach Kids Good or Evil?” Psychology in Action, February 17, 2017, www​.psychologyinaction​ .org​/psychology​-in​-action​-1​/2017​/02​/17​/lets​-fight​-the​-bad​-guys​-do​-superheroes​ -teach​-kids​-good​-or​-evil. 23. Romagnoli and Pagnucci, 116. 24. Briana Craig, “The Superhero Inside: Exploring the Minds of Ourselves and Our Superheroes,” Senior Honors Projects, 2010-Current, JMU Scholarly Commons, 2018, commons.lib.jmu.edu/honors201019/591. 25. Craig, 87. 26. Daredevil, season 1, episode 3, “Rabbit in a Snowstorm,” directed by Adam Kane, written by Marco Ramirez, Netflix, 2015. 27. Daredevil, Kane. 28. Ibid. 29. Arthur Sullivan, 1842–1900, The Pirates of Penzance (New York: Angel Records, 1961). 30. Ryan Quinn, “Elden Henson: 10 Best Foggy Nelson Daredevil Moments,” ScreenRant, October 25, 2020, screenrant.com/ elden-henson-best-foggy-nelson-daredevil-moments/. 31. Daredevil, Abraham. 32. Sara Goering, “Rethinking Disability: The Social Model of Disability and Chronic Disease,” Current Reviews in Musculoskeletal Medicine, 8, (2015): 134–38, accessed October 31, 2021, doi.org/10.1007/s12178-015-9273-z. 33. Ann Logsdon, “Using Person-First Language When Describing People with Disabilities,” verywellfamily, last modified May 16, 2020, www​.verywellfamily​.com​ /focus​-on​-the​-person​-first​-is​-good​-etiquette​-2161897. 34. Cynthia Lewiecki-Wilson and Brenda Jo Brueggemann, Disability and the Teaching of Writing: A Critical Sourcebook, First Edition, (New York: Bedford/St. Martins, 2007). 35. Daredevil, Blackburn. 36. Daredevil, season 1, episode 9, “Speak of the Devil,” directed by Nelson McCormick, written by Christos Gage and Ruth Fletcher Gage, Netflix, 2015. 37. Daredevil, Blackburn. 38. A reference to the air force pilots and best friends Pete “Maverick” Mitchell and Nick “Goose” Bradshaw in the film Top Gun.

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39. Daredevil, Blackburn. 40. Daredevil, season 2, episode 9, “Seven Minutes in Heaven,” directed by Stephen Surjik, written by Marco Ramirez and Lauren Schmidt Hissrich, Netflix, 2016. 41. Daredevil, season 1, episode 13, “Daredevil,” directed and written by Steven S. DeKnight, Netflix, 2015. 42. Daredevil, season 3, episode 6, “The Devil You Know,” directed by Stephen Surjik, written by Dylan Gallagher, Netflix, 2018. 43. Daredevil, season 3, episode 4, “Blindsided,” directed by Alex Garcia Lopez, written by Lewaa Nasserdeen, Netflix, 2018. 44. Daredevil, Lopez. 45. Ibid. 46. Stephen Zimmerly, “The Sidekick Comes of Age: Tracing the Growth of Secondary Characters in Young Adult Literature” (dissertation, Indiana University of Pennsylvania, 2016), 123. 47. Daredevil, Lopez. 48. Ibid. 49. Ibid. 50. Lee, Everett, Ditko, and Brodsky, cover. 51. Daredevil, Blackburn.

Chapter 3

From Typical Teen to Sidekick The Transformation of Xander in Buffy the Vampire Slayer Jennifer Marmo

“I laugh in the face of danger. Then I hide until it goes away,”1 is a typical Alexander Lavelle Harris quote that sums up his character. At the beginning of the Buffy the Vampire Slayer television series, Xander Harris is a bungling high school sophomore—hardly the character that viewers would envision as a hero. However, by the end of the show, Xander has become an important supporting character, and yes, a hero in his own right, despite not having superpowers or special abilities. Typically, the hero gets the recognition while the companion remains in the shadows; often, the sidekick or supporting characters are literally in the shadow of the hero. Further, heroes are often portrayed as men, and their companions, love interests, and sidekicks are women. Further, not every story features a strong woman with a platonic but important sidekick that is a man—and this feature is what separates Buffy the Vampire Slayer from the generally accepted idea of the hero’s journey. Not only is Buffy Summers, a sixteen-year-old female high school sophomore, the hero of the show but one of her sidekicks is a sixteen-year-old male. In addition to many other facets, this component of strong, important sidekicks is where Buffy breaks the mold of what is expected of a story that features heroes and sidekicks. Although his human foibles are always present and relatable, Xander Harris’s courage and unwavering support are often the critical tipping point to Buffy Summers and the story; as the clumsy, affable high schooler next to a budding witch and a centuries old vampire, Xander stands out because his role helps Buffy both in life and as a hero. He serves as her best friend, 47

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her big brother, and her loyal sidekick. His whole purpose in the series is to provide support, then, to the people with power. In short, Xander Harris is essential in Buffy the Vampire Slayer because he is the avatar for the viewer, the representation of the average person in supernatural world. BACKGROUND Buffy the Vampire Slayer premiered in March of 1997, and although it was based on a campy movie of the same name from 1992, it became a groundbreaking television show for the fledgling WB Network. The show centers around a young and pretty high school student who is considered the one person in the world who can not only defeat vampires but any other supernatural creature she comes across. This young warrior is mentored by an older person and tends to die at a young age. However, even though Buffy Summers was the Chosen One, and did die young (at least the first time), she surrounded herself not only with her mentor, her Watcher Rupert Giles, but also by friends, including her two best friends, Willow Rosenberg and Xander Harris. At the beginning of the series, not only did Willow and Xander have no idea of any supernatural happenings in the world, but they were also just high school sophomores. Both characters evolve throughout the series; Willow eventually becomes a very powerful witch, but Xander becomes the ultimate sidekick: the every man in the middle of situations where he lends support to the hero. Xander is not a Vampire Slayer like Buffy—and he is not even a trained Watcher like Giles. In short, Xander is just a regular human who chooses to fight alongside his friends. He gets physically hurt, and often, he gets left behind because he can’t help beyond what his human abilities allow him to. But in the end, Buffy—and the rest of the Scooby Gang—need Xander and his humanity. Xander, in essence, is the “heart and soul of the Buffyverse where the only man of the superhero group is the caretaker and cheerleader.”2 There are other peripheral male characters in the show, but Xander is there from the beginning in “Welcome to the Hellmouth”3 all the way to the end in “Chosen.”4 IMPORTANCE OF THE SIDEKICK In Season One of Buffy the Vampire Slayer, Xander Harris is introduced with two best friends, Willow Rosenberg and Jesse McNally. Xander is a typical teenage male: distracted by pretty girls, as evidenced when he first sees Buffy Summers and falls off his skateboard, and concerned with school, as

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indicated by his asking Willow to help him with math. When Willow and Jesse are in peril, Xander steps in to help Buffy rescue them. Throughout the first season, as the character of Xander is established, the audience sees that Xander rounds out the trio of leads and performs the role of boy best friend. However, as the seasons continue, Xander’s role is firmly confirmed as sidekick to not only Buffy but to Willow as well. At one point, in “Inca Mummy Girl,”5 Xander even offers his life for Willow’s. This self-sacrifice continues throughout the series. The end of the first season shows how integral Xander is to the development of the character of Buffy. During the last episode of the season, “Prophecy Girl,”6 Xander saves Buffy’s life by performing CPR when The Master leaves Buffy in a puddle of water after biting her. Without Xander’s ability to breathe, since Angel cannot save Buffy as he is a vampire and therefore has no breath, Buffy would not have been brought back to life and then gone on to defeat The Master. It is the second season where Xander becomes more of his own person, separate from Willow and Buffy, and he goes on to date Cordelia Chase and show himself capable of performing tasks that are similar to a sidekick going on his own adventures. In “Halloween,”7 people become their Halloween costumes. Xander is dressed as a soldier and his whole demeanor changes: he goes from shy, geeky teen to confident, take charge man. Due to magically becoming a soldier, Xander gains military knowledge and training. This training comes in handy later on in the season when the Scooby Gang needs to fight The Judge. Therefore, in “Halloween,” Xander takes the hero role but later during “Innocence”8 he is back to being a sidekick, fulfilling his role in the gang by helping them get in the army barracks to get a rocket launcher to defeat The Judge. Xander’s military knowledge helps him in later seasons as well. As Xander’s role is more realized in Season Two, since Season One was a midseason replacement and therefore, had a shorter season, the audience gets to see various facets of his personality. As his romantic relationship with Cordelia, once his most hated enemy, flourishes, Xander does resort back to his pre-Buffy coming to Sunnydale persona: an unsure of himself teenage boy who doesn’t ever get the girl. This rebuff leads to Xander going to Amy, a high school witch friend, and asking for a love spell so that he knows he has Cordelia’s love. “Bewitched, Bothered, and Bewildered”9 is a Xander-centric show that epitomizes early Xander luck: he gets the girl (or girls as it were) but it is not in the way he wants. Turns out that Amy’s spell doesn’t quite work and Xander does not get Cordelia’s devotion but every other female in Sunnydale, Buffy included, wants a piece of him. By the end, Xander gets his girl as Cordelia stands up to her friends and stands by her man.

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Xander’s relationship with women is complicated: it is alluded that his mother doesn’t really care very much about him; he was unaware that Willow pined for him; he couldn’t get Buffy to notice him as boyfriend material; and prior to Cordelia, every woman he was attracted to turned out to be some kind of monster (giant praying mantis in “Teacher’s Pet”10 and mummy in “Inca Mummy Girl”). In the stories of heroes, they are the ones to get the girl (or boy in Buffy’s case) so Xander, as the sidekick, is relegated to the romantic sideline. Xander consistently shows that he is loyal and brave. In “Killed By Death,”11 he stands up to Angelus to protect Buffy and in “Go Fish”12 when he goes undercover with the swim team to find out what is happening to the swimmers. In the world of Buffy the Vampire Slayer, Xander is powerless but that does not stop him from helping out the Scooby Gang over and over. As Season Two ends, in “Becoming, Part 2,”13 Xander does what he thinks he needs to in order to protect those he cares about: he goes to help Buffy saying, “Cavalry’s here. Cavalry’s a frightened guy with a rock, but it’s here”14 and then lies to her about Willow performing the spell to restore Angel’s soul. Xander tells Buffy that Willow said “to kick his (Angelus) ass”15 since Xander is angered by Buffy’s inability to kill Angel when she had the chance in “Innocence” and this has led to the death of Jenny Calendar as well as Giles being kidnapped and tortured and Willow being grievously injured. This jealous and vindictive side of Xander is easy to connect with since these feelings are part of being human. In Season Three’s episode, “The Zeppo,”16 it becomes apparent that Xander is the epitome of the sidekick in the minds of all the other characters. He sees himself as isolated and worthless to the group (although he does try to be helpful.) During the teaser fight, Xander is there alongside everyone else trying to fight the demons but as per usual, he has been physically tossed aside. Giles recommends that Xander hang back during battles and Xander says, “But gee Mr. White, if Clark and Lois get all the good stories, I’ll never be a good reporter.”17 By quoting Jimmy Olsen, the true parallel between Xander and sidekick is established. Jimmy Olsen was established in the Superman comics as the sidekick that may not possess superpowers but represents the potential to be a hero that exists within all.18 Ironically, Cordelia calls Xander “Jimmy Olsen”19 when trying to insult him. She then calls him “the useless part of the group. The Zeppo,”20 in reference to Zeppo Marx, the least known of the five Marx Brothers, an American family comedy act successful in vaudeville on Broadway in the early twentieth century.21 A zeppo is “one person in a group or gang that is either used, ignored, and/or stepped on frequently.”22 However, this episode proves that Xander “is capable of acts of heroism that need no audience.”23 He manages to take care of four zombie gang members as well as make the leader defuse the bomb the gang put in the boiler

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room of the high school. All of this is happening while Buffy and the others are fighting the demons from the teaser fight; demons who wanted to bring about the apocalypse by opening the Hellmouth under the high school. At the end of the episode, after doing his part to save his friends, without them even knowing, Xander is able to face down Cordelia and her string of insults as he walks away with a smile since he knows that inside, he is a hero in his own right with “quiet strength and courage.”24 The season ends with high school graduation and the senior class all helping to defeat the season’s Big Bad, the Mayor. Xander’s military knowledge once again comes in handy when they need to get weapons and strategize to fight the Mayor and his vampiric minions. While Willow and Buffy head off to college, and Cordelia heads off to LA, Xander travels the country aimlessly. His “physical dislocation from Buffy and Willow”25 and his eventual “inability to find a meaningful job inflame his sense of uselessness.”26 Upon his return to Sunnydale, Xander goes to work since he has decided not to attend college. Unfortunately, Xander drifts from job to job and finds himself on the outside, looking in at his friends and their lives. “Xander desperately wants to belong, wants to contribute to the group in a meaningful way”27 but he feels isolated and inferior to his best friends. “Deep down Xander wants to be chosen like Buffy, not in the specific sense of being a Vampire Slayer, but in the sense of being taken account of and respected. He wants to be the savior of others rather than the one always in need of saving.”28 Xander works hard to prove himself and even when he does save his friends, and the world, as he did in “The Zeppo,” no one even knows and therefore, there is no validation for him. In the first episode of Season Four, “The Freshman,”29 when Xander is trying to give Buffy a pep talk and he says to her, “Let me tell you something— when it’s dark and I’m all alone and I’m scared or freaked out or whatever, I always think ‘What would Buffy do?’ You’re my hero.”30 This revelation highlights the relationship between the friends and solidifies the contrast between traditional male and female roles in the Buffyverse. Traditionally, men are heroes and women are in the background. However, this has never been the case with the characters as Buffy is coded male and Xander is coded as female which “is a smoke and mirrors version of feminism.”31 The females of the show are Vampire Slayers, witches, demons, or vampires and the males of the show are Watchers, werewolves, or vampires except for Xander who is marginalized and holds no power. This is not “a simple case of gender reversal”32 since “most of the menfolk are evenly matched with the women”33 but “a closer look shows that while masculine power does exist, the women continually subvert it.”34 And for Xander, he is even considered Buffy’s handmaiden.35 Even though “Xander has will-power bravery; he feels a great deal

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of fear, but he has sufficient will-power to continue on, and to act despite his fear,”36 he does not always feel like he can contribute to the group. In “The Yoko Factor,”37 Spike, a vampire who has plagued the Scooby Gang since Season Two, exploits not only Xander’s feelings of inadequacy but drives a wedge between all the friends so that Adam, the Big Bad of Season Four, can move forward with his diabolical plan. When Spike meets with Xander and claims that Buffy and Willow said Xander was heading off to Boot Camp, Xander fires back with, “It happens that I’m good at a lot of things. I help out with all kinds of . . . stuff. I have skills and . . . stratagems . . . I’m very . . . ”38 but he can’t even finish because his confidence is shaken. He is once again just the normal guy. But this is the role of every sidekick: step out of the spotlight so the hero can save the day. However, going back to Joseph Campbell’s Monomyth of the Hero’s Journey,39 a hero needs his companions to go on their adventures. There is an inherent tension in the sidekick/hero relationship but there is also a closeness required in order for them to work together. No matter what, Buffy needs Xander for his support and friendship. They may not always get along or see things the same way, but she needs him as much as he needs her. Another way that Xander is an important character is that he grounds and balances Buffy with his humanity—even when she tries to shield him. From the beginning, all the way back to “The Harvest”40 in Season One, Buffy has tried to make Xander stay behind to protect him. Toward the end of “The Yoko Factor” when the gang is planning together, trying to figure out how to stop Adam and Buffy plans to go back to a cave where she fought Adam earlier in the day, Xander says, “So she doesn’t go alone. Giles, weapons all around.”41 Once again, Xander is ready to run headfirst into battle. But Buffy doesn’t want Xander to go because he will get hurt, as a sidekick does, since he has no superpowers. This leads Xander to expose his feelings, “Oh, okay. You and Willow go do the superpower thing. I’ll stay behind and putter around the Batcave with crusty old Alfred here,”42 in reference to Robin, the Boy Wonder, one of the early comic book sidekicks. His persistence leads to a scene where the three best friends fight with each other and Buffy asks, “How can you possibly help?”43 The irony is that she needs them in order to be one of the longest living Slayers. Villain Spike is aware of Xander’s role, as he points out during the series: “The Slayer’s got pals. You want her evening the odds in a fight, you don’t want her Slayerettes mucking about.”44 Spike knows that Buffy is stronger because she has support by her side; Xander and his humanity as well as Willow and her magic skills help her be successful. Buffy, then, is her strongest when united with her friends and in “Primeval,”45 the penultimate episode of Season Four, that unity becomes literal. In the episode, Buffy uses an enjoining spell in order to link herself with Giles, Willow, and Xander.46 Each

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of the characters represents a different quality, and Xander’s is heart, clearly labeling his importance to the story and to Buffy. Xander’s growth as a person continues with Season Five as he retains his role as the “grown-up” of the Scoobies: Xander is out in the real world, holding down a job and trying to make money. In the first episode of the season, “Buffy vs. Dracula,”47 Xander does fall into a very structured sidekick role: that of Renfield to Count Dracula. At the beginning of this episode, the gang is having a playdate at the beach. Buffy and Riley are playing football while Xander is attempting to start a fire on the hibachi. Anya, Tara, and Willow are lounging by, watching Xander struggle and the Slayer and her lover playing. Xander looks at Riley and Buffy and says, “Shouldn’t relaxing involve less exertion?”48 Anya agrees and talks about getting sweaty. Tara alludes to sweat making people stinky and then says, “Better to just stay put,” to which Willow replies, “I think we’ve just put our finger on why we’re the sidekicks.”49 The bad guy of this episode is none other than Dracula and Xander falls under the thrall of the greatest vampire of all time. Xander defends Dracula to his friends and then leads Buffy to the castle where Dracula awaits. Throughout all tales of Dracula, no one can resist him so it really should be no reflection on Xander. At the end of the episode, Xander is righteously angry about being Dracula’s “butt monkey”;50 he once again fell victim to a greater power. At this halfway point in the series, the audience knows Xander “as the Everyman in the midst of both the natural and supernatural worlds.”51 Xander is the person the audience can most identify with and during the series, as he shifts from “the awkward, geeky boy in high school” to the “shiftless townie in college,”52 it is apparent that “the lone member of the Scooby Gang without powers or abilities above and beyond the normal human being”53 can still be heroic. The third episode of Season Five is titled “The Replacement,”54 and it features two Xanders: the result of a demon trying to attack Buffy and Xander trying to protect his best friend and putting himself in harm’s way. The two Xanders appear to have different personalities: one is insecure and a buffoon and the other is an emotionally sensible and driven man. The latter shows Xander’s true potential. This episode “is the moment of Xander’s self-actualization, the pinnacle of his role as the Everyman . . . Xander’s world is at odds with the supernatural world his friends live in,”55 and this moment is where he finally realizes that he has what he needs to succeed inside of him. In short, Xander’s journey in the series mirrors that of the ordinary person: people go through this world trying their best to do something and affect change. Xander is in the unique position to actually be a hero and help save the world, over and over again. Another way that Xander complements Buffy and the story is evident in his friendship with Buffy’s second boyfriend, Riley, an ex-military man who is buff, can fight, and is intellectual whereas Xander lacks “physical strength,

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intelligence, and supernatural gifts.”56 Both men have complicated romantic relationships with their respective significant others, and Riley actually feels inferior to Buffy and unloved by her. The most interesting aspect to this friendship, as opposed to the ones with the women in Xander’s life, is that both men have very similar emotional concerns. Xander feels inferior to those around him and feels he can’t “live up to what he perceives as their expectations for him.”57 Similarly, Riley feels he can’t live up to Angel, Buffy’s former lover, and due to Buffy’s Slayer abilities and duties, her perceived masculinity, Riley can’t protect Buffy the way he thinks he should be able to: Riley does not fulfill the traditional hero role in this romantic relationship. Riley seeks validation and need from a female vampire and expresses his issues with his relationship with Buffy after she discovers this dirty secret. Buffy can’t see through her anger at first and ironically, it is Xander who helps Buffy see how she truly feels for Riley in “Into the Woods”58 and sends her off to reconcile with Riley before he leaves on a covert military mission. In conclusion, Xander is the heart of the Scooby family he “represents emotion, love, and friendship”59 and works hard to mediate relationships and help people to find their true potential. In helping Buffy see how she honestly feels, Xander figures out his true feelings for Anya and he lets her know so that he doesn’t lose her. Xander’s ability to pay attention to his environment and those around him makes him invaluable to the group. Season Six helps Xander realize his “version of heroism . . . involves self-sacrifice and a willingness to put others before himself.”60 This season is dark in many ways starting from the beginning when Buffy emerges from her grave, brought back to life by her closest friends, all the way to the almost destruction of the world from Dark Willow, which was spurred on by the murder of her lover, Tara. However, Xander’s “special status . . . the normal one”61 helps him to retain his comic relief at times and his “big brother”62 identity continue to shape his journey in this season. The musical episode, “Once More with Feeling,”63 highlights Xander’s uncertainty of his relationship with Anya. He sings the line “like she thinks I’m ordinary” with sadness,64 expressing his inner thought that she might not truly see all he offers as man. As a result, he leaves her at the altar in the episode, “Hell’s Bells.”65 “Once More with Feeling” also brings Xander’s “masculine normalcy,”66 usually “asserted in scenes with Anya,”67 into question when Anya sings, “When things get rough, he just hides behind his Buffy.”68 Xander’s “quiet strength and courage”69 is once again not visible to the strong women around him; therefore, it is no wonder that he resorts back to his comedic side when he realizes that he summoned a demon in this musical episode. In actuality, Xander was just looking for singing, dancing, and a happily ever after with his betrothed. However, his human foibles once again result in a supernatural problem that the gang has to work together to solve. Xander’s humanity,

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then, is truly part of what sets him apart from the others, especially at this point, and it allows viewers to connect to, and relate to his mistakes as well as admire his persistence in helping nonetheless. This persistence is especially visible at the end of “Seeing Red”70 when Buffy and Xander are talking about their various transgressions through the season. He says, “I don’t know what I would do without you and Will.”71 He often feels needy and inadequate, and his guilt over mistakes is evident in his conversation with Anya in “Two to Go (Part One)”:72 You think I’m the hero of this piece. I saw the gun. Before Warren raised it. I saw it and I couldn’t move. He shot two of my friends before I could even. . . . You want me to know how useless I am? That it’s my fault? Thanks, I already got the memo.73

Once again, Xander is feeling as if he is incompetent and incapable of being heroic. Yet, he is admirable in the way he persists, continues to help, and tries to find solutions to the problems around them. In “Grave (Part Two),”74 Xander manages to keep them all safe until a magic bomb explodes and knocks him unconscious. Willow, devastated at the death of her true love, has become a dark witch, bent on destroying the world. Anya, in astral form, informs Buffy that Giles has said, “no magic or supernatural force can stop her. The Slayer can’t stop her.”75 Xander, though, hears about Willow’s plan and heads off to find her. His “heroic values of loving compassion, friendship, and redemption”76 are a part of the “gender-inclusive form of heroism made possible by modern superwomen”77 such as Buffy. Xander, with “no ‘mystic’ or ‘super’ powers” is able to stop Willow “through an act of love.”78 In true Xander form, he begins by making jokes. He offers himself to Willow as a sacrifice even as he tells her that he loves her. Even as she hurls energy at him, causing him to bleed, it becomes apparent that he is reaching her and she breaks down, sobbing. The black magic leaves her and she returns to the Willow the audience has grown to know and love, the Willow that Xander has loved since Kindergarten. Giles makes Willow “emotionally vulnerable to Xander. It is then up to Xander to reach Willow; if he can’t, the world ends.”79 Xander does manage to reach her and then, “[t]he world is saved . . . by the power of love” represented in Xander. Only Xander, often considered the weakest of Buffy’s cohorts, can reach and persuade Willow, because he and Willow share a lifelong bond that is closer than that of traditional brother and sister.80 Xander, once called “big brother” by Buffy in “Restless,”81 is unquestionably “the brother Willow needed to bring her back to humanity.”82 Xander is the hero “who, in his own words, ‘saved the world with his mouth.’”83 It is in the next season where the audience finds out that Xander is not only the

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“moral center” and “heart of the household”84 but since he is so observant and perceptive, he is a “living archive of the Scooby Gang”85 and is therefore, integral to their ability to function. The final season of the show emphasizes that not only is Xander the integral male figure in the lives of the women in the Buffyverse, but also that his potential to see everything makes him invaluable. The last season of the show focuses on Buffy and friends firmly in adult life while Dawn returns to the newly built Sunnydale High School. The supernatural world is once again crumbling around the Scooby Gang as a non-corporeal evil, the First, terrorizes Sunnydale and the First’s minions, the Harbingers of Death (colloquially known as Bringers), murder potential vampire slayers around the world. The young women, with the aid of Giles and the Coven (the witches that helped Willow recover after she turned evil), head to Sunnydale for protection and to help Buffy defeat the First. In “Potential,”86 Buffy works with the young potential slayers to help them build up their arsenal of skills. Xander, as the embodiment of the male provider, helps Dawn, Buffy’s younger sister who thought she was a Potential, reconcile her feelings in regard to not being a part of the Slayer line. Xander helps Dawn realize that a person doesn’t have to be the slayer or the hero to be important. He shares with Dawn not only how he sees the world, but how he sees her worth: Seven years. Working with the Slayer. Seeing my friends get more and more powerful. . . . All of them. And I’m the guy who fixes the windows. . . . They’ll never know how tough it is, Dawnie. To be the one who isn’t chosen, to live so near the spotlight and never step in it. But I know. I see more than anybody realizes because nobody’s watching me. I saw you last night. I see you working here today. You’re not special. You’re extraordinary.87

It is in this moment where the audience realizes Xander’s true worth. He is the one who uplifts all of the women around him. He helps them to see who they really can be. He may not be the man in front of them, although sometimes he does push them out of the way, but he is the man beside and behind them always. Dawn understands who Xander truly is and says to him after his speech to her: “Maybe that’s your power. Seeing. Knowing.”88 Xander jokes about wearing a cape and sometimes, sidekicks do just that. While those close to Xander may not always see his importance, others do—namely Caleb, the priest who targets him. In “Dirty Girls,”89 Caleb dubs Xander “the one that sees everything.”90 The audience knows that Xander clearly sees his friends’ flaws and strengths because no one is looking at him, which is his superpower according to Dawn. Xander’s strength, which is non-supernatural, is his insight, empathy, and understanding. Prior to the

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attack on the vineyard, Xander is helping to prep the Potentials and when Rona badmouths Buffy, Xander assures her, and all the others that Buffy “cares more about your lives than you will ever know. You gotta trust her. She’s earned it.”91 This emotional speech touches all of those in the living room of Buffy’s house and they leave for the siege. As suspected, the vineyard is a trap and while under attack, the back-up team, including Xander come in to help. It is at the vineyard where everyone encounters Caleb and he takes Buffy down with one punch and Spike shortly thereafter. Caleb and the Bringers go after the Potentials and severely injure, and kill, many of them. As they are all retreating, Caleb grabs Xander and unfortunately, quickly understands Xander’s place and while acknowledging what Xander sees, Caleb says, “Well, let’s see what we can do about that,”92 and then plunges his thumb into Xander’s eye. Xander losing an eye echoes “the high price paid by many mythic heroes.”93 This battle, and then Buffy wanting to return to the winery, is the key to Buffy and her relationship with the others crumbling since Xander is the “guy keeping the house together both figuratively and literally”94 and his injury, as well as the other losses, leads the family, including Dawn, to throw Buffy out of her own house in “Empty Places.”95 Drew Goddard, the writer of “Dirty Girls,” states on the DVD commentary that the original plan was to kill Xander. The thought process was that since Xander is the spine of the group, the foundation, if he is taken down by the villain, then the house will crumble and fall apart. However, since Xander has always been there and never wavered, what are the writers saying about that type of person if he dies? Your reward for being a good sidekick is that you die? Xander is injured, yes, and wavers from standing behind Buffy but by “End of Days,”96 when Buffy asks him a favor, he says, “I just always thought that I would be there with you. You know, for the end”97 because he wants to stand beside her, as he has always done. Her response, “You will be. You’re my strength, Xander. You’re the reason I made it this far. I trust you with my life.”98 So, not only was his life spared earlier, but it will be spared in the end as well. Xander, then, will be rewarded for being the sidekick. As he stands on the edge of the caved-in Hellmouth of Sunnydale, along with his two best friends, he says, “We saved the world”99 and that would not have happened if Xander had not been the man he was throughout the series. CONCLUDING THOUGHTS Alexander Lavelle Harris is more than just a part of the Scooby Gang; he holds the group together. “The importance of Xander is recognized on a number of occasions by the group, but it is Season Seven, as the series is winding

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to its end, that the most marvelous expression of it is given to us,”100 during Xander’s conversation with Dawn at the end of “Potential.” His friends, his chosen family, “see him standing at the edge of things, and they know that he isn’t going anywhere . . . quietly acting as both the heart and the eyes of his family.”101 Xander is the only consistent male in the series; every other male character comes and goes in Buffy’s life but Xander is there all the way from “Welcome to the Hellmouth” in Season One through the series finale, “Chosen.” Throughout his experiences, he “came into his own as the Scoobies’ heart and soul in this reverse-gendered Buffyverse, where the only man of the superhero group became the caretaker and cheerleader.”102 Buffy the Vampire Slayer shows its age, twenty-five years in 2022, in many ways. The technology and fashions are very nineties. However, this show is timeless in how the characters are constructed. Buffy is a hero by any standard; her only digression is that she is a female whereas most heroes were depicted as males. Xander is an ideal sidekick: he is there for Buffy throughout the series to support her in the hero’s journey. This show helped a generation of young people to embrace the idea of a formed, and not blood, family that stands by members no matter what. This show helped shape a generation of young people to see their potential. The world of Buffy the Vampire Slayer “provides a model of heroism that is gender inclusive because the Scoobies show a world where men and women work successfully together.”103 And, without Xander in their world, neither Buffy nor Willow would have survived. Xander manages, through grit, perseverance, and love—all very human traits—to be a very needed sidekick to the powerful women in his world. NOTES 1. Buffy the Vampire Slayer, “The Witch,” The WB Television Network (New York, NY: WPIX, March 17, 1997). 2. Joy Davidson, The Psychology of Joss Whedon: An Unauthorized Exploration of Buffy, Angel, and Firefly (Dallas, TX: BenBella Books, 2007), 112–13. 3. Buffy the Vampire Slayer, “Welcome to the Hellmouth (Part One),” The WB Television Network (New York, NY: WPIX, March 10, 1997). 4. Buffy the Vampire Slayer, “Chosen,” United Paramount Network (New York, NY: WWOR, May 20, 2003). 5. Buffy the Vampire Slayer, “Inca Mummy Girl,” The WB Television Network (New York, NY: WPIX, October 6, 1997). 6. Buffy the Vampire Slayer, “Prophecy Girl,” The WB Television Network (New York, NY: WPIX, June 2, 1997). 7. Buffy the Vampire Slayer, “Halloween,” The WB Television Network (New York, NY: WPIX, October 27, 1997).

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8. Buffy the Vampire Slayer, “Innocence (Part Two),” The WB Television Network (New York, NY: WPIX, January 20, 1998). 9. Buffy the Vampire Slayer, “Bewitched, Bothered, and Bewildered,” The WB Television Network (New York, NY: WPIX, February 10, 1998). 10. Buffy the Vampire Slayer, “Teacher’s Pet,” The WB Television Network (New York, NY: WPIX, March 25, 1997). 11. Buffy the Vampire Slayer, “Killed By Death,” The WB Television Network (New York, NY: WPIX, March 3, 1998). 12. Buffy the Vampire Slayer, “Go Fish,” The WB Television Network (New York, NY: WPIX, May 5, 1998). 13. Buffy the Vampire Slayer, “Becoming (Part Two),” The WB Television Network (New York, NY: WPIX, May 19, 1998). 14. Ibid. 15. Ibid. 16. Buffy the Vampire Slayer, “The Zeppo,” The WB Television Network (New York, NY: WPIX, January 26, 1999). 17. Ibid. 18. DC Comics, www​.dccomics​.com​/characters​/jimmy​-olsen (accessed January 8, 2020). 19. Buffy the Vampire Slayer, “The Zeppo,” The WB Television Network (New York, NY: WPIX, January 26, 1999). 20. Ibid. 21. The Marx Brothers, www​.marx​-brothers​.org​/biography​/zeppo​.htm (accessed September 11, 2020). 22. Urban Dictionary, www​.urbandictionary​.com​/define​.php​?term​=Zeppo (accessed September 11, 2020). 23. Matthew Pateman, The Aesthetics of Culture in Buffy the Vampire Slayer (Jefferson, NC: McFarland & Company, 2006), 148. 24. Ibid. 25. Gregory Stevenson, Televised Morality: The Case of Buffy the Vampire Slayer (Dallas, TX: Hamilton Books, 2003), 97. 26. Ibid. 27. Ibid. 28. Ibid., 98–99. 29. Buffy the Vampire Slayer, “The Freshman,” The WB Television Network (New York, NY: WPIX, October 5, 1999). 30. Ibid. 31. Marc Camron, “The Importance of Being the Zeppo: Xander, Gender Identity and Hybridity in Buffy the Vampire Slayer.” Slayage, www​.whedonstudies​.tv​/uploads​ /2​/6​/2​/8​/26288593​/camron​_slayage​_6​.3​.pdf 32. Ibid. 33. Ibid. 34. Ibid. 35. Ibid.

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36. James B. South, Buffy the Vampire Slayer and Philosophy: Fear and Trembling in Sunnydale (Chicago, IL: Open Court, 2003), 151. 37. Buffy the Vampire Slayer, “The Yoko Factor,” The WB Television Network (New York, NY: WPIX, May 9, 2000). 38. Ibid. 39. Joseph Campbell, The Hero with a Thousand Faces (New York, NY: MJF Books, 1949), 64. 40. Buffy the Vampire Slayer, “The Harvest (Part Two),” The WB Television Network (New York, NY: WPIX, March 10, 1997). 41. Buffy the Vampire Slayer, “The Yoko Factor,” The WB Television Network (New York, NY: WPIX, May 9, 2000). 42. Ibid. 43. Ibid. 44. Ibid. 45. Buffy the Vampire Slayer, “The Yoko Factor,” The WB Television Network (New York, NY: WPIX, May 16, 2000). 46. A. M. Robinson, The Official Grimoire: A Magickal History of Sunnydale (San Rafael, CA: Insight Editions, 2017), 68. 47. Buffy the Vampire Slayer, “Buffy vs. Dracula,” The WB Television Network (New York, NY: WPIX, September 26, 2000). 48. Ibid. 49. Ibid. 50. Ibid. 51. Mary Alice Money, Joss Whedon: The Complete Companion (London: Titan Books, 2012), 56–57. 52. Ibid. 53. Ibid. 54. Buffy the Vampire Slayer, “The Replacement,” The WB Television Network (New York, NY: WPIX, October 10, 2000). 55. Mary Alice Money, Joss Whedon: The Complete Companion (London: Titan Books, 2012), 57–58. 56. Ibid., 116. 57. Ibid., 119. 58. Buffy the Vampire Slayer, “Into the Woods,” The WB Television Network (New York, NY: WPIX, December 19, 2000). 59. Norma Jowett, Sex and the Slayer: A Gender Studies Primer for the Buffy Fan (Middleton, CT: Wesleyan University Press, 2005), 134. 60. Ibid. 61. Ibid., 139. 62. Jes Battis, Blood Relations: Chosen Families in Buffy the Vampire Slayer and Angel (Jefferson, NC: McFarland & Company, 2005) 44. 63. Buffy the Vampire Slayer, “Once More with Feeling,” United Paramount Network (New York, NY: WWOR, November 6, 2001). 64. Ibid.

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65. Buffy the Vampire Slayer, “Hell’s Bells,” United Paramount Network (New York, NY: WWOR, March 5, 2002). 66. Jes Battis, Blood Relations: Chosen Families in Buffy the Vampire Slayer and Angel (Jefferson, NC: McFarland & Company, 2005) 50. 67. Ibid. 68. Buffy the Vampire Slayer, “Once More with Feeling,” United Paramount Network (New York, NY: WWOR, November 6, 2001). 69. Matthew Pateman, The Aesthetics of Culture in Buffy the Vampire Slayer (Jefferson, NC: McFarland & Company, 2006), 148. 70. Buffy the Vampire Slayer, “Seeing Red,” United Paramount Network (New York, NY: WWOR, May 7, 2002). 71. Ibid. 72. Buffy the Vampire Slayer, “Two to Go (Part One),” United Paramount Network (New York, NY: WWOR, May 21, 2002). 73. Ibid. 74. Buffy the Vampire Slayer, “Grave (Part Two),” United Paramount Network (New York, NY: WWOR, May 21, 2002). 75. Ibid. 76. Jennifer K. Stuller, Ink-Stained Amazons and Cinematic Warriors: Superwomen in Modern Mythology (London: I.B. Tauris, 2010), 102. 77. Ibid. 78. Ibid. 79. Glenn Yeffeth, Seven Seasons of Buffy: Science Fiction and Fantasy Writers Discuss Their Favorite Television Show (Dallas, TX: BenBella Books, 2003), 171. 80. Ibid. 81. Buffy the Vampire Slayer, “Restless,” The WB Television Network (New York, NY: WPIX, May 23, 2000). 82. Glenn Yeffeth, Seven Seasons of Buffy: Science Fiction and Fantasy Writers Discuss Their Favorite Television Show (Dallas, TX: BenBella Books, 2003), 171. 83. Jes Battis, Blood Relations: Chosen Families in Buffy the Vampire Slayer and Angel (Jefferson, NC: McFarland & Company, 2005), 62. 84. Matthew Pateman, The Aesthetics of Culture in Buffy the Vampire Slayer (Jefferson, NC: McFarland & Company, 2006), 151–52. 85. Jes Battis, Blood Relations: Chosen Families in Buffy the Vampire Slayer and Angel (Jefferson, NC: McFarland & Company, 2005), 62. 86. Buffy the Vampire Slayer, “Potential,” United Paramount Network (New York, NY: WWOR, January 21, 2003). 87. Ibid. 88. Ibid. 89. Buffy the Vampire Slayer, “Dirty Girls,” United Paramount Network (New York, NY: WWOR, April 15, 2003). 90. Ibid. 91. Ibid. 92. Ibid.

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93. K. Dale Koontz, Faith and Choice in the Works of Joss Whedon (Jefferson, NC: McFarland & Company, 2008), 183. 94. Buffy the Vampire Slayer, “Dirty Girls” Commentary, United Paramount Network (New York, NY: WWOR, April 15, 2003). 95. Buffy the Vampire Slayer, “Empty Places,” United Paramount Network (New York, NY: WWOR, April 29, 2003). 96. Buffy the Vampire Slayer, “End of Days,” United Paramount Network (New York, NY: WWOR, May 13, 2003). 97. Ibid. 98. Ibid. 99. Buffy the Vampire Slayer, “Chosen,” United Paramount Network (New York, NY: WWOR, May 20, 2003). 100. Matthew Pateman, The Aesthetics of Culture in Buffy the Vampire Slayer (Jefferson, NC: McFarland & Company, 2006), 147–48. 101. Jes Battis, Blood Relations: Chosen Families in Buffy the Vampire Slayer and Angel (Jefferson, NC: McFarland & Company, 2005), 65. 102. Joy Davidson, The Psychology of Joss Whedon: An Unauthorized Exploration of Buffy, Angel, and Firefly (Dallas, TX: BenBella Books, 2007), 112–13. 103. Jennifer K. Stuller, Ink-Stained Amazons and Cinematic Warriors: Superwomen in Modern Mythology (London: I.B. Tauris, 2010), 103.

Chapter 4

The Wakanda Design Group Walter D. Greason

Injustice, DC’s popular video game, begins with the premise that Superman loses control and kills the Joker. Batman’s inability to stop him provokes a global conflict as humanity faces extinction and servitude at the hands of its strongest defenders. Since the national trauma of the Vietnam War, comic books became a medium to explore the crisis of western civilization in ways that both obscured and showcased the violence at the heart of the imperial projects. Led by stories like DC’s The Watchmen and Broken Bat, the protagonists of the stories became fraught and vulnerable, using desperate means to survive the struggles they faced. Injustice was the pinnacle of this framework, engaging players in an interactive narrative about the corruption of superheroes as a concept, extending the engagement explored in detail during the Kingdom Come stories where nuclear annihilation ended the age of heroes. Marvel Comics suggested a similar premise in many of their stories. After the emergence of the Secret Wars stories (and followed by DC’s Crisis on Infinite Earths), Marvel made horror stories about teenagers with superpowers (The New Mutants) and later developed stories explicitly about villains pretending to be heroes (Thunderbolts). These conflicted narratives grew out of the soap opera narrative style of Chris Claremont’s X-Men as well as Kurt Busiek’s Avengers. Some of the most popular Marvel stories after 2011 focused on the Illuminati, the leaders of the various teams acting in concert to prevent the worst problems the world would face. T’Challa, son of T’Chaka, of Wakanda—alone—rejects the premise of the Illuminati.1 He recognizes the threat of such a coalition to provoke exactly the problems it would seek to solve. This wisdom is the key factor of Black Panther’s character. Unlike Batman, who organizes and supports the Justice League (despite reservations), Black Panther represents the circumspection 63

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that great power requires.2 It is a maturity that belies that formats that introduced Black Panther to the world: comics and cinema. Over the first three decades of his stories, the Black Panther was an adaptation of earlier Tarzan stories about the mysterious and wild continent of Africa. His posture, athleticism, and fighting ability all drew on imagery and narratives that developed from the tensions of a talented warrior living far away from western civilization. Marvel Comics added a layer of technological sophistication to make connections to the science fiction elements of the title, the Fantastic Four. The core of this symbolic distinction is the Wakandan Design Group (WDG)—a company created by T’Challa as both the Black Panther and King of Wakanda. In this way, Wakanda was an outgrowth of the popular television series, I Spy (1965), where a talented African-American spy showed how backwards racial prejudice is.3 WDG was a corollary to Stark Industries or the Baxter Building in Marvel comics, but even more so a parallel to Wayne Industries in the DC universe. The history of African American representation in comics is longer than most assume with roots that stretch back into the early twentieth century and minstrel traditions, yet few of those stories involved an African king in control of a massive industrial infrastructure. However, with the emergence of Black superheroes between 1965 and 1985, artists and writers began to purposely challenge racial judgments among young readers. Where comedians and actors used the power of television to change the ways that white adults perceived African Americans (see the examples of Bill Cosby, Richard Pryor, and Eddie Murphy), editors like Stan Lee and Jim Shooter opened the doors of the comic offices to Christopher Priest and Dwayne McDuffie. These decisions in the late 1970s and early 1980s held enormous consequences. SIGNIFICANCE OF THE WAKANDA DESIGN GROUP As much as music, movies, and television changed the cultural references for white Americans over the next decade, it was the comic medium that connected most deeply with the emergent culture of hip hop in American cities. This connection transformed youth culture in profound ways by 1995, setting the context for T’Challa to become the comic books’ symbol for racial integration based on the inherent royalty he represented. In history, the processes of African enslavement and segregation obscured the history of medieval wealth and empire on the continent. Careful readers in the second half of the twentieth century, however, could learn about Mansa Musa and the west African empires of Mali, Songhai, and Ghana. Musa, by recent estimates, was the richest man to ever live. His wealth created economic crises from Spain and Portugal to Ethiopia and Persia. T’Challa, and the lineage of

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Wakandan rulers, became a way to explore these hidden histories of African wealth and empire.4 Musa’s wealth is the most accurate historical antecedent to the concept of the Wakanda Design Group. However, WDG exceeds the resources of the American industrial complex at the heights of the Cold War. Indeed, by 2021, WDG possesses the resources of multiple galaxies—rivaling the interstellar empires of the Shi’ar, Kree, and Skrull (beyond the reach of DC’s Thanagarians and, arguably, only paralleled by Odin’s Asgard and Highfather’s New Genesis). Overall, the combination of African wisdom, martial strength, and vast wealth created the basis of the character’s power in American fiction. It still took thirty years for these factors to shape the stories in any substantial way. Unlike Iron Man, whose wealth obscured his profound vulnerabilities in an allegory about the United States, the Wakanda Design Group was a feature, not a focus, of Black Panther’s many appearances in comics. Even in that story, the technologies were specialized traps, designed to counter the powers of the Fantastic Four. Through the Jungle Action stories, the character was constantly tortured and beaten bloody, as his physical endurance became the driver of the narrative.5 As the writing about the Black Panther developed, his similarities to Iron Man became increasingly apparent. At one point, an advisor scolds Tony Stark gently, asking, “Have you considered that T’Challa could build any armor he wanted, but he chooses not to?”6 The implicit challenge is that Stark does not understand that his audacity provokes unnecessary challenges.7 WDG, by contrast, works away from the spotlight resolving and preventing problems before they occur. Media critics have made more frequent comparisons to Batman as T’Challa became a more prominent character. Like the comparisons to Iron Man, they often express disbelief when the comparisons reveal Batman’s weaknesses relative to Black Panther. Bruce Wayne’s psychological limitations, due to childhood trauma, have parallels to T’Challa’s witnessing his father’s murder.8 However, the ways that Wayne Industries serves as a tool for Batman’s resourcefulness are entirely different from the role Wakanda offers Black Panther. In the end, a corporation is not a nation. Even the strictest comparison of Wayne Industries (WI) and WDG shows that Waynes’ enterprise has legal restrictions that complicate Batman’s activities that simply do not apply to WDG. If Wayne Industries acquired the nation of Kahndaq one day, then there might be some equivalency.9 Batman’s aesthetic evolved from later Tarzan stories about the “urban jungle,” especially after 1966. Panther was connected to this approach in 1973. Batman became more technologically sophisticated as Iron Man grew in popularity through the 1980s. When Priest reinvented Panther, he used the Wayne Industries/Stark Technology model to transform the preexisting ideas of Wakanda (to the Wakanda Design Group). However, the tensions about using the “jungle adventurer” model

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in the context of urban crime remains dominated by stereotypes about race, gender, and class. T’Challa does not escape these limitations, but attempts to subvert them through cultural criticism in ways that accept the perceptions of an assumed audience of younger, white men. With Ta’Nehisi Coates’ acceptance of audience demands for a galactic Wakanda storyline, WDG now offers a narrative framework that allows for the enormous cultural lexicon of the African diaspora to grow to its fullest potential as an expression of the Black Speculative Arts and Afrofuturism.10 Despite its small size and population, WDG symbolizes an African continent without five centuries of enslavement and colonization. Given a thousand-year advantage over the Roman Empire, with active divine guidance for its political and cultural leadership, there is no real world basis to extrapolate its resilience and resourcefulness.11 It is an African ideal nation— most comparable to Arthur’s Camelot, if anything. In that formulation, the lineage of Panthers are the roundtable. T’Chaka serves in the role of Merlin, eventually replaced by Shuri and her ancient spiritual connections to the djalia. Deeper even than the massive technological and commercial advantages of the sacred mound of vibranium, these spiritual roots represent a holistic strength that preserves the nation, and its hero, against virtually any adversity. WDG is a blend of spirituality, technology, and unbroken cultural wisdom.12 There are four areas that establish Black Panther’s strength among fictional superheroes. The first is his fighting ability. In Marvel stories, Captain America and Shang-Chi are considered the best hand-to-hand fighters, followed by Iron Fist, Elektra, Daredevil, and Wolverine. On most occasions, the technique and ferocity of his approach have showed the capacity to defeat vastly stronger opponents, most notably the Silver Surfer. The most important point about the Black Panther among the most elite melee fighters in the world is that these skills are the least important to his larger range of abilities.13 His annual victories to retain his status as chieftain carry enormous symbolic power, but they have the least range and impact of the resources he commands. When Reginald Hudlin introduced Shuri as a major character, it was her attempt to win the title of Black Panther that drove her narrative. She was an impetuous sibling, eager to prove herself. T’Challa’s rise stood in her path, but the possibility of her ascendance remained in place. Again, the story focuses on palace and familial intrigue instead of traditional action/adventure images and storylines. The relationships are the keys to the narrative for Priest and Hudlin as they commit the reader to the fundamental humanity of the characters. Wakanda does not exist simply as a fantasy for skillful martial arts or spectacular science fiction technologies. Those elements exist in these twenty-first century stories to restore a global admiration of the African diaspora by offering hints about Black histories too often untaught.

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Shuri emphasizes this point in powerful ways once T’Challa abandons the throne to recover from an attack in the DoomWar series.14 She proves herself to be a ruthless tactician who matches her brother as a physical combatant. Ultimately, it is her moral insight that exceeds even her scientific genius in understanding how to render justice when the nation is attacked and how to restore T’Challa’s leadership at the moment when the universe needs him most. In these ways, Shuri amplifies the ways that Black Panther stories explore the humanity of the characters. She has the superior athleticism, the command of future technologies, and the wisdom of countless ancestors in the application of political power. Mysticism, magic, time travel, and energy shields are all available to explore the conflicts through the plot. However, for Shuri and T’Challa, it is their character and intellect that defines how they overcome adversity. It is their fundamental humanity that defines the extent of their super-heroic capacities. Once an analyst recognizes that his physical skills are elite, the next level of his abilities focus on his intellect and the unique impact of the ways that WDG adapts the fictional metal vibranium as both a mineral and a technology. The heart-shaped herb is a plant, infused with vibranium, consumed by the lineage of Panther chieftains, providing unusual genetic and biological advantages, similar to the Super Soldier formula for Steve Rogers. Further, the substance has been refined for thousands of years as a textile as well as an infinite variety of industrial and digital products. The microweave suit that the Black Panther wears is bulletproof and can redirect energy, along with claws that cut through any metallic substance. It is the simplest of the technological innovations that Wakandans use regularly. More impressively, T’Challa is the world’s leading scientist and engineer in vibranium technologies, allowing him to innovate in its uses on a scale only matched by Reed Richards, literally the smartest man in the Marvel Universe.15 Following the devastating battle against Dr. Doom, WDG pioneered the creation of a new field of science and religion called “shadow physics.” Doom’s own evolution involved his exploration of his mystic roots and connecting to demonic powers to supplement his technological genius. Shadow physics allowed the Black Panther to combine the spiritual strength of his connection to Bast with his scientific genius, enabling the creation of new technologies like galactic teleportation—all as part of the design group. This growth was particularly important as the Illuminati required his skills to deal with the multiversal incursions that ultimately destroyed the Marvel Universe. They also empowered T’Challa to secure the power of the Infinity Gauntlet and confront God Emperor Doom in the mission to restore the multiverse.16 The single greatest expression of the Black Panther’s shadow physics was his journey to atone for his failures in his battles against Namor of Atlantis that led to the destruction of Wakanda. His absolution was granted by the

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goddess Bast, and she elevated him as the ultimate Black Panther, able to commune with all of his predecessors as well as an undefined range of abilities as “The King of the Dead.”17 These abilities are most similar to Aragorn’s summoning of countless dead warriors to prosecute a war on his request.18 Where Aragorn’s ability was temporary, T’Challa’s has been enduring. The weight of the power is the Black Panther’s distance from the humanity he loves, but it also offers him a perspective on any crisis that is only matched by the cosmic awareness of characters like Dr. Strange and Captain Marvel.19 In this way, the WDG again transcends a single notion of nation or corporation, but becomes a singular institution that transforms the audience’s sense of possible institutional identities. CONCLUDING THOUGHTS The Marvel Cinematic Universe acknowledged these unique abilities in the climactic moment of the film Avengers: Endgame.20 As Thanos summons his armies, and Captain America rises alone with a broken shield to fight for the Earth, the portal over his shoulder opens. Black Panther walks through the portal with his sister, Shuri, and his general, Okoye. Captain America makes eye contact with the Black Panther, and they share a knowing look. In the next moment, more portals open and all of the heroes arrive, supported by the Wakandan army as well as the Asgardians and hundreds of sorcerers. Black Panther leads the assembled host in the call of “Yibambe!” Thanos looks on, shocked and shaken, at the power gathered to defeat him.21 Where Captain America represented the courage of all the past sacrifices shown in twenty-two films, Black Panther represented the limitless, undeniable future that they would fight to preserve together.22 Educators today face a similar moment. After forty years of neglect and poverty, the story of the Black Panther offers ways to energize and inspire new students in the decades ahead. One tool in this effort is a new game system titled “Sojourners Trail.”23 Designed to teach about the Black Speculative Arts Movement, it can be adapted to offer an immersive, gaming experience for any subject. Most importantly, it allows for maximum student voice and choice. As they learn new subjects, the game helps them to develop new questions. With the new questions, the game provides a virtual environment to explore that maintains excitement and curiosity. These forms of electronic puzzles are a major part of the future of teaching and learning. Black Panther’s power to transform the world is not limited to comics and movies. T’Challa, son of T’Chaka, of Wakanda, is a warrior, a scientist, a king, and a legend. Especially after the unexpected passing of actor Chadwick Boseman,

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the world has the opportunity to inspire a new generation to carry the mantle of the Black Panther.24 NOTES 1. Brian Michael Bendis and Steve McNiven, Illuminati, 2005. 2. Neal Curtis, Sovereignty and Superheroes, 2015. 3. Julian Chambliss and Walter D. Greason, eds., Cities Imagined: The African Diaspora in Media and History, 2018; Mel Watkins, On the Real Side, 1995. 4. Sheena Howard, ed., Encyclopedia of Black Comics, 2017; Qiana Whitted, EC Comics: Race, Shock, and Social Protest, 2019; Frances Gateward and John Jennings, eds., The Blacker the Ink, 2015. 5. Don MacGregor, Jungle Action, 1973–1976. 6. Christopher J. Priest, “Black Panther,” 2004. 7. Richard Reynolds, Superheroes: A Modern Mythology, 1992. 8. Priest, “Black Panther.” 9. Otto Binder and C. C. Beck, “Captain Marvel,” DC Comics, 1973, 1994. 10. Walter D. Greason, “An Introduction to the Wakanda Syllabus,” Black Perspectives, 2016. 11. Ryan Coogler, “Black Panther,” Marvel Studios, 2018. 12. Walter D. Greason, “Chadwick Boseman and the Semiotics of Liberation,” Black Perspectives, 2020. 13. Marvel Comics, “Original Handbook of the Marvel Universe,” 2006. 14. Jonathan Maberry, “Doomwar,” 2010. 15. Reginald Hudlin, “Black Panther: Complete Collection, Volume 1,” 2017. 16. Jonathan Hickman, “Secret War,” 2015; Al Ewing, “Ultimates 2,” 2017. 17. Jonathan Hickman, “Fantastic Four #607,” 2012. 18. J. R. R. Tolkien, The Return of the King, 1955. 19. Marvel Comics, “Official Handbook of the Marvel Universe,” 2006. 20. Avengers: Endgame, directed by Anthony Russo and Joe Russo (Marvel Studios, 2019). 21. Marvel Studios, “Avengers: Endgame,” 2020. 22. Marvel Studios, “Loki,” 2021. 23. Megan Allas and Walter Greason, “Sojourners’ Trail” www​.walterdgreason​ .com, 1 August 2020. 24. Walter D. Greason, “Chadwick Boseman and the Semiotics of Liberation” Black Perspectives, 8 September 2020.

Chapter 5

Overcoming Great Fear Jessica Cruz, Mental Illness, and the Green Lantern Corps Eric Hasty

While the majority of the chapters in this volume are examining sidekicks and their role within the superhero story, that trope does not quite work in the world of the Green Lantern. While Green Lantern comics often include multiple characters working together in a story, it is rarely the traditional hero/sidekick relationship. Sometimes you find a protagonist/foil relationship as seen in Green Lantern/Green Arrow1 where Hal Jordan is a conservative foil to Green Arrow’s activism or any story involving Guy Gardner where Gardner is a foil to whichever Green Lantern the author is hoping to promote—originally Hal Jordon, but later and more often John Stewart. There is the occasional master/student relationship especially in the origin stories found in Emerald Dawn2 or any story involving the training of new recruits. However, Green Lantern stories generally rely on a genuine partnership such as in “Brave and the Bold”3 where Green Lantern and Flash work together or in various volumes of the Green Lantern Corps where multiple Lanterns work together to solve an intergalactic problem. The Green Lantern Jessica Cruz is a character who is defined by her place within one partnership or another.4 She has yet to have her own title but instead has been partnered with Hal Jordan, Simon Baz, and briefly with Guy Gardner as she works to protect Earth from alien invasions and other nefarious actors. Thus far, her character is unique in the Green Lantern pantheon because she has yet to have an individual adventure. Her role has always been as part of a team. 71

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This use of her character within the DC universe is fascinating and important because of the way she has been used to represent the underrepresented Latino community, but more importantly how she is a correction of the misrepresentation of people suffering from mental illness. This chapter will explore how Cruz is constantly dealing with her post traumatic stress disorder, and as such serves to address social and personal issues in the comics that are historically demonized and relegated to the characteristics of the villain rather than the hero. CONVERGENCE CULTURE AND POPULAR MEDIA Popular media studies is an important area of research as it helps explain how certain ideas and beliefs are propagated throughout society.5 Jenkins grounds the study of popular culture in three distinct but related areas (media convergence, participatory culture, and collective intelligence): Convergence is a word that manages to describe technological, industrial, cultural, and social changes, depending on who’s speaking and what they think they are talking about. In the world of media convergence, every important story gets told, every brand gets sold, every consumer gets courted across multiple media platforms.6

As stories get told, they get moved across multiple media outlets discussed by various people who have disparate relationships with each character or story based on the media consumed as well as the personal experience of the consumer. For example, the character primarily discussed in this chapter, Jessica Cruz, was created by Geoff Johns for the comic book world.7 However, she has appeared in the 2019 animated movie Justice League vs The Fatal Five and is a recurring character in the children’s cartoon DC Super Hero Girls. While the character maintains certain characteristics—she always has her power ring, and she is always Latin American—understandably the character has developed differently based on the medium where she is represented. My niece only knows Cruz to be a self-assured passivist who is constantly advocating for environmental and social causes. My brother, who only knows her from the movie and his daughter’s cartoon, sees her as a reluctant hero paralyzed by her own fear or activism. I know her as an emotionally complex character who has dealt with a traumatic past to become one of the most powerful characters in the DC Comics universe. All of us are correct, and our separate understandings of the character serves to inform not only our discussions of the character when my niece and I play together with her Jessica

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Cruz action figure, but they also inform my discussions with her parents and friends as I express my opinion of what each media has done with the character, and my brother and his wife explore my obsession with a minor character from their daughter’s favorite TV show. SIGNIFICANCE OF JESSICA CRUZ This example also serves to explain the term participatory culture as it illustrates how we each participate to define our cultural understandings which in turn creates a sort of collective intelligence. The character is defined not by a single participant in the discussion, but by each of us working together. The author, the audience, and the transactions among them serve to define our cultural understandings.8 General Issues of Representation in Comics Representation has been an issue in comics since the beginning. Many American voices were left out of the medium for decades as the heroes failed to represent persons of color and characters of diverse religious backgrounds. However, omission is not the only, nor necessarily most harmful, form of misrepresentation. Women, by and large, were represented within specific sexist tropes that served to further marginalize them and relegate women to positions of service. Mental illness, on the other hand, was depicted as particularly dangerous and served to ostracize those suffering from mental illness as they found themselves depicted as either the victim of an evil mastermind’s plan or more likely depicted as the evil mastermind himself.9 The experience of collectively defining and understanding our world through popular culture makes issues of representation in media incredibly important. Representation in popular media matters as it informs the audience’s sense of the person or group being represented, and informs represented individual’s sense of self and social belonging.10 Understanding the role of representation in popular media has long been an issue in cultural studies11 because popular media has long been connected to the idea of establishing and propagating bias.12 Gender, religious, cultural, racial, and ethnic representation has long been an issue with popular media.13 Studies have consistently shown how representation informs reality and how people generalize based on how characters are presented in various media. As we have become aware of the effects of media representation on bias, media producers have sought to include disparate voices not only on screen and in print but in the production of various popular media. This issue is as true in comics as it is in other forms of popular media.

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Representation of Mental Illness Our general, psychological, and medical understanding of mental health and mental illness has undergone significant changes in the last decade much less in the sixty plus years of Green Lantern Comics.14 As of the writing of this chapter, we understand a diagnosis of mental illness is quite different from the concept of mental health in general.15 Traditionally, or more accurately archaically, mental health was understood as an “absence” of mental illness. This is a flawed perception that we as a society have not consistently challenged until fairly recently, and this challenge is evident in how comics, a popular media that is often rife with its writers, artist, and editors’ biases, has treated the concept over the years. While our understanding of mental health and illness is quite nuanced today, this is generally not true of the comics and characters represented in them. For the sake of uniformity, I will treat the characters as presented in the comics. When an author presents a nuanced view of mental health, such as Jessica Cruz,16 I will imitate the authors’ knowledge and representation. However, as will become evident, most comics are written prior to our current understandings.17 It is impossible and disingenuous to try to represent nuance and understanding where none exists. Rather than try, I will maintain the authors’ original language and discussion of mental illness despite our current understandings of these issues. Characters with mental illness have been represented in the medium since the earliest comics, and yet until recently, they were almost universally depicted negatively, usually juxtaposed with the hero who represented the ideological “normal.” Lex Luthor’s insane desire for power of any kind contrasts Superman’s humble self-control and judicious use of his otherworldly powers. Joker’s maniacal desire to sow chaos and disorder opposes Batman’s stoic desire for an orderly and peaceful city. Hector Hammond’s fear of the world and other people contrasts Hal Jordan’s ability to “overcome great fear” as he seeks to protect the citizens of Earth and the rest of Sector 2814. This depiction of the mentally ill as something or someone to be feared results in a general negative view of mental health and is a part of a generally negative trend in the entertainment industry.18 This is particularly harmful because it shows the “solution” for mental illness is institutionalization and imprisonment rather than seeking and receiving professional medical help. According to the National Institute of Mental Health, just under 20 percent of Americans live with some form of mental illness.19 Regardless, media representation of mental illness is particularly negative and generalizes the mentally ill population as violent and dangerous.20 This negative representation of mental illness is particularly problematic in comic books21 where until recently the people with mental illness were relegated to either the status of victim or, more likely, villain.

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These negative depictions of mental illness harm both those in society with mental illness as well as those without.22 Mispresenting the statistics concerning mental illness and violence gives an unhealthy impression of society at large. These representations lead the audience to believe that the mentally ill are dangerous and should be treated with suspicion and distrust. Unfortunately, as we have come to better understand and better treat mental illness, there has not been a significant movement toward positive and authentic representation in media.23 As society has deinstitutionalized many mentally ill patients and moved to a more outpatient service model, the depiction of the mentally ill as dangerous has increased and become a more prevalent trope in popular culture.24 DC Comics has shifted the way they represent their characters and sought to adjust their depictions of mental illness specifically. This shift is illustrated by the contrast of the villain Hector Hammond and the newest Green Lantern from Sector 2814, Jessica Cruz. In the next section, I will explore how mental illness, specifically anxiety, is traditionally represented in comic book narratives. I will then discuss the creation of the character Jessica Cruz and explore how her anxiety is shown through a more complex lens in more recent comics. Mental Illness and Hector Hammond As stated earlier, comics have a long history of misrepresenting mental illness.25 While Batman and his villains get the most attention26 as they represent mental illness, the trope of mentally ill = violent and unsafe is prevalent throughout the history of comics and popular media in general.27 In order to understand the significant shift in representation, it is best to compare Jessica Cruz’s development with the Green Lantern antagonist Hector Hammond and his relationship with the idea of phobia as mental illness. Hector was introduced in the 1960s28 as a criminal who sees a magic rock that increases one’s intellect and fear simultaneously. The plot device of taking advantage of the mentally ill is built as Hammond exposes other people to the stone and uses their fear to control them. The idea that the mentally ill are victims is further explored and confirmed when Hal Jordan frees Hammond’s captives and returns them to “normal.” Later Hammond turns the meteorite on himself to give himself the increased intellect while negatively affecting his emotional wellbeing.29 Here begins the narrative trope of mentally ill as villain that makes up the major story arcs that encompass Hector Hammond’s plot lines. Hector Hammond grows to represent the negative effects of fear and the great lengths socially awkward people will go to be accepted by their peers.

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The debilitating nature of Hammond’s fear ebbs and wanes over the years. At times he is able to dominate the will of others through his telepathic powers while at other times is unable to address other people for fear of rejection. His most common story line is that of a shy man who cannot overcome his fear of rejection, so he resorts to mind control in order to force people to accept him. This fear is heightened by his representation of a deformed human with a head so large his body cannot support it or as a catatonic man only able to communicate telepathically. Regardless of the extent, the heart of the character represents the idea that those who are crippled by fear are unable to participate in society. This trope manifests itself throughout comic history until recently when challenged by the character Jessica Cruz. Mental Illness and Jessica Cruz It should come as a surprise to no one then that Jessica Cruz was introduced to the comic book reader as both: victim and villain.30 An evil mind controlling ring takes advantage of a human girl suffering from extreme fear as she was once the witness of the horrible murder of her best friends. Her mental illness makes her the perfect victim to be controlled and used by this evil power from another dimension. Fantastic, absurd, and fairly standard fair for a comic book villain’s back story. However, over the course of the following years, Cruz goes on to rescue herself from the ring,31 and in overcoming her fear become the 6th Green Lantern from Earth—eventually becoming the titular character of Green Lanterns along with Simon Baz.32 Her characterization shifts from that of a victim of mental illness, to someone who is diagnosed with a mental illness, an illness she learns to control, adapt, and overcome through therapy and self-care. Through this character history, especially as you contrast her with the character Hector Hammond, one can trace the issues of representation of mental illness in comic books as well as the recent desire to address the problems of portrayal. An interesting sidenote, the nuance and complexity of our modern understanding of mental illness can be demonstrated by how different authors perceive the character and understand her complexity. For example, Sam Humphries and Tim Seeley depict her mental illness quiet differently and adjust her characterization based on how they understand her diagnosis. Humphries—who wrote early issues of the comic Green Lanterns33 clearly describes Jessica as dealing with generalized anxiety disorder.34 His depiction focuses on her uncontrolled and sudden fear and focuses on her coping mechanisms to control her anxiety and overcome her fear. Seeley35 on the other hand, depicts Cruz as suffering more from PTSD,36 and explores how certain psychological triggers cause painful flashbacks, which she then must cope with and overcome in order to save the world.

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It is not that one of the authors is right and the other is wrong. It’s a fictional character with authors who are given a certain amount of leeway to adjust and interpret as they understand her. The fact that Humphries and Seeley approach her differently helps demonstrate our more nuanced understanding of mental health and mental illness today. That said, it can be confusing to a reader moving from one issue to the next, or, even more removed, a reader being introduced to the character in a book chapter about how our understanding and representation of mental illness has shifted over the course of time. Coincidently, the character trait that defines a Green Lantern had to change before the representation of mental illness could evolve. Hal Jordan was originally identified “as one born without fear”37 however, by the late 1980’s a Green Lantern’s defining characteristic had shifted as “able to overcome great fear.”38 This shift opened the door for Jessica Cruz. Fear became an emotion that one can work against. At issue, of course, was the idea that fear could be defeated, and once vanquished, it was gone. Throughout the 90s, and especially with the development of the character Parallax—the embodiment of fear—the hero was depicted as the person or alien who could overcome fear and vanquish it. Phobias were irrational and not “normal” in the sense that a “normal” person can live a life without ever being subject to fear. Jessica Cruz challenges this depiction of fear and courage. Rather than someone without fear, Jessica is depicted as a person who is constantly confronted and coping with it. Jessica is a hero who rather than irradicating her mental illness has learned to cope and overcome. Her challenge is constant, and she constantly rises to the occasion. This is made apparent to the reader as she deals with a brush with death and thinks: “Breathe deep. You know how to cope now. In and out. Nice and slow. Focus on your breath.”39 In the following issue Cruz explains that to someone with anxiety, facing Darkseid— the most powerful antagonist in the DC Universe—was on par with attending a simple family dinner. “I’m a girl with anxiety. I overcome fear one day and it comes back the next.”40 This depiction humanizes people who deal with mental illness and helps the reader understand that people with anxiety are not the villain or victim. They are the hero. Jessica is constantly juxtaposed with her partner Simon Baz, a Muslim American who is unjustly feared by all around him due to his heritage. An unanxious man living in an anxious society, Baz lashes out against the fear and refuses to give in to it. He demands of his audience “why do you fear me?” “What have I done to warrant this treatment?” On the other hand, Jessica must answer, “Why am I afraid?” An anxious woman in a trusting environment, Cruz must confront her fear in order to get out of bed. Go to the kitchen. Leave the house. Save the world.

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As Cruz not only overcomes her fear of leaving her room, but continues to fight apocalyptic foes, she proves again and again how mental illness is a barrier that can be overcome. CONCLUDING THOUGHTS This is a much better answer than found in most popular media. While the negative effects of characterizing mental illness as villainous has already been explored in this paper, the more common approach is actually “mental illness as comedy.”41 Situation comedies, such as The Big Bang Theory constantly exploit mental illness for comedic effect. For example, much is made of Sheldon’s OCD and Raj’s fear of women. Mental illness has become a new clown face for members of the audience to cringe with and pity. It is not the “look at that” where the audience points and laughs. Rather, it’s the “poor thing he doesn’t know any better” form of humor. Regardless, the human response is grounded it pity more than in compassion, in ridicule more than understanding. Jessica’s representation stands in stark contrast to this. Through the use of inner monologue, a literary device comics have always excelled at, the reader understands Jessica’s plight and witnesses as she overcomes her self-doubt and ultimately prevails. She proves on the page that while her mental illness is real and takes a significant emotional toll on her, she can get through it and succeed. The important thing, as stated earlier, is that her anxiety does not go away. It is not a temporary condition caused by the Scarecrow’s fear gas or some strange color of Kryptonite. Her anxiety is a part of who she is. It simultaneously defines and does not define her. It is this realistic exploration of mental illness, especially anxiety, that makes Jessica Cruz such an important character in the DC Universe. This treatment serves to humanize those dealing with various mental illnesses. It allows those suffering with mental illness to see themselves in the role of the hero rather than the villain and encourages treatment and coping to institutionalization and ostracization. It also allows those without mental illness to understand the perspective of those who are dealing with one issue or another and helps create an understanding and compassionate audience. For this reason, Jessica Cruz is an incredibly important step in correcting comics traditional depiction of this marginalized group. This creates a situation where people are allowed to participate in the superhero story in new ways and brings a new element to the conversation. Jessica, rather than being defined by her power ring and imagination, is defined by her humanity. As Jessica Cruz is translated to other media, she

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continues to represent people dealing with mental illness and successfully, through guidance and self-care, overcome great fear. NOTES 1. Dennis O’Neal and Neal Adams, The Green Lantern 2, no. 76 (New York: DC Comics, 1970) 2. Christopher Priest and Mark Bright, Green Lantern: Emerald Dawn 1, no. 1, (New York: DC Comics, 1989 3. Mark Waid, Tom Peyer and Barry Kitson, Flash & Green Lantern: The Brave and the Bold 1, no. 1 (New York: DC Comics, 1999) 4. Sam Humphries and Robinson Rocha, “Rage Planet Part 1,” Green Lanterns 1, no. 1, (New York: DC Comics, 2016) 5. Henry Jenkins, Convergence Culture: Where Old and New Media Collide (New York: New York University Press, 2006) 6. Henry Jenkins, “Welcome to Convergence Culture.” Confesssions of an Aca-Fan June, 2006, henryjenkins.org/blog/2006/06/welcome_to_convergence_culture.html. 7. Geoff Johns and Scott Collins, “Injustice League: Epilogue: Unlikely Allies,” Justice League 2, no. 34 (New York: DC Comics, 2014) 8. Henry Jenkins, Convergence Culture: Where Old and New Media Collide (New York: New York University Press, 2006) 9. Lawrence Rubin, Mental Illness in Popular Media (London: McFaland & Company, 2012) 10. Anthony Cooke, Moral Panics, Mental Illness Stigma, and the Deinstitutionalization Movement in American Popular Culture. (Statesboro, GA: Palgrave Macmillan, 2017) 11. Donna Alvermann, Jennifer Moon, and Margaret Hagood, Popular Culture in the Classroom Teaching and Researching Critical Media Literacy. (Chicago: Routledge, 2017) 12. Rachel Godsil, Jessica MacFarlane, and Brian Sheppard, Pop Justice: Volume 3: Pop Culture, Perceptions, and Social Change. (Washington, DC: Perception Institute, 2016) 13. Jennifer Meuller, Apryl Williams, and Danielle Dirks, “Racism and Popular Culutre: Representation, Resistance, and White Racial Fantasies.” Handbook of Sociology of Racial and Ethnic Relations. (New York: Springer, 2018) 14. Mclean Hospital, Everything you need to know about Mental Health, 2021, www​.mcleanhospital​.org​/conditions 2021. 15. Christopher Palmer, Yes, There is a Bid Defference Between Mental Health and Mental Illness, 2021, www​.mcleanhospital​.org​/essential​/yes​-there​-big​-difference​ -between​-mental​-health​-and​-mental​-illness 16. Geoff Johns and Scott Collins, “Injustice League: Epilogue: Unlikely Allies,” Justice League 2, no. 34 (New York: DC Comics, 2014) 17. John Broome and Gil Kane, Green Lantern 2, no. 1 (New York: DC Comics, 1960)

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18. Lawrence Rubin, Mental Illness in Popular Media. (London: McFaland & Company, 2012) 19. NIMH, Mental Health Information/Statistics, 2021, www​.nimh​.nih​.gov​/health​ /statistics​/mental​-illness​.shtml 20. Bernice Pescosalido, Bianca Manago, and John Monohan “Evolving Pubic Views on the Likelyhood of Ciolence from People with Mental Illness: Stigma and its Consequences,” Health Affairs 38, no. 10, (2019) 21. Sarah Thaller “Comics, Adolescents, and the Language of Mental Illness,” Graphic Novels for Children and Young Adults. (Jackson, MS: University Press of Mississippi, 2017) 22. Stephen Harper, “Media, Madness, and Mispresentation: Critical Reflections on Anti-stigma Discourse,” Europeon Journal of Communications 20, no. 4, (2005) 23. Ibid. 24. Anthony Cooke, Moral Panics, Mental Illness Stigma, and the Deinstitutionalization Movement in American Popular Culture. (Statesboro, GA: Palgrave Macmillan, 2017) 25. Sathyaraj Vennkatesan and Sweetha Saji, “Conjuring the ‘Insane’: Representations of Mental Illness in medical and Popular Discourses.” Media Watch, 10, no. 3 (2019) 26. Michael Brody, “Batman: Psychic Trauma and its Solution,” Journal of Popular Culture 28 no. 4 (1995) 27. Lawrence Rubin, Mental Illness in Popular Media. (London: McFaland & Company, 2012) 28. John Broome and Gil Kane, Green Lantern 2, no. 5 (New York: DC Comics, 1961) 29. Gardner Fox and Mike Sekowsky, Justice League of America 1, no. 14 (New York: DC Comics, 1962) 30. Geoff Johns and Doug Mahnke “Injustice League: Chapter Two: Power Players,” Justice League 2, no. 31 (New York: DC Comics, 2014). 31. Geoff Johns and Scott Collins, “Injustice League: Epilogue: Unlikely Allies,” Justice League 2, no. 34 (New York: DC Comics, 2014) 32. Sam Humphries and Robinson Rocha, “Rage Planet Part 1,” Green Lanterns 1, no. 1 (New York: DC Comics, 2016) 33. Ibid. 34. Pyramid Healthcare, Generlaized Anxiety Disorder, July 2020, www​ .pyramidhealthcarepa​.com​/what​-is​-generalized​-anxiety​-disorder​/ 35. Seeley and Rocha, “Ghosts of the Past, Part Four: Long Road Home” Green Lanterns 1, no. 47 (New York: DC Comics, 2018) 36. Pyramid Healthcare Generalized Anxiety Disorder vs Post-Traumatic Stress Disorder, June 2021, www​.pyramidhealthcarepa​.com​/gad​-vs​-ptsd​/ 37. John Broome and Gil Kane, Green Lantern 2, no. 1 (New York: DC Comics, 1960 38. Jim Owsley and M. D. Bright, Emerald Dawn 1 no. 1 (New York: DC Comics, 1989)

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39. Sam Humphries, Jack Herbert and Will Conrad, “Family Dinner” Green Lanterns 1, no. 6 (New York: DC Comics, 2016) 40. Sam Humphries and Ronan Cliquet “Family Matters” Green Lanterns, 1, no. 7 (New York: DC Comics, 2016) 41. Jacquieline Hobson, “Stigma and Fear: The Psy Professional” in Cultural Artifacts” British Journal of Psycholtherapy 35, no. 2 (2019).

Chapter 6

What it Means to be Noble An Examination of Donna Noble’s Importance within the Doctor Who Universe Ariel Mickey

In a world where the majority of storytelling has shifted into encompassing multimedia, there still exists the need for the hero and sidekick relationship narrative. In what form this relationship is fed to the masses is irrelevant, as the superhero x sidekick dynamic continues to remain familiar regardless of how the story is told. The hero, primarily labeled special in some way, is removed from the human scheme via their abilities and powers, while the sidekick has the job of grounding said hero back into the realm of humanness by maintaining their strictly “not special” label and providing human insights missed by said hero. Insights could include but are not limited to providing a different perspective to a problem, reminding the hero of the importance of emotion, and returning them to moral and ethical realities that make up the everyday normal human experience that provide the audience with a way to relate back to the hero. In the British sci-fi show Doctor Who, the companions to the Doctor perpetuate this hero x sidekick narrative by realigning the Doctor’s awareness with a more human and mortal lens just by simply being human themselves. David Layton makes this point when he states: “Usually, a travelling companion provides the viewers’ perspective. Sometimes, companions’ characters are used to create dramatic tension, provide authority and normalcy, or to heighten some attribute of the Doctor’s character.”1 Throughout the incarnations of the show’s main character, there have been a number of mortal human companions that fit the role of sidekick, but the most important one came on 83

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the scene in 2008 with fan favorite Donna Noble. Season 4’s Donna Noble, was arguably the most important companion since the reboot of the series in 2005 due to her strictly platonic relationship with the Doctor, her use of compassion to situate the Doctor as the hero, and her unwavering desire to be more than a sidekick, which resets the mold for future companions. BACKGROUND Even in a fictional reality where aliens and time rifts exist, there is a need for a hero and sidekick dynamic that can triumph over evil while existing in a morally gray space grounded in human emotion and ideals. The wildly popular British Sci-Fi TV drama Doctor Who popped into the air space in the 1960s before taking a hiatus and returning with a reboot in 2005. The plot follows the adventures of a humanoid alien “Time Lord” from the fictional planet of Gallifrey known as “The Doctor” as they travel through space and time in a ship that takes the form of a retro British police box, referred to as The TARDIS or Time and Relative Dimensions in Space. With the TARDIS being bigger on the inside, the Doctor is rarely ever alone. As the Doctor travels, he/she picks up any number of human companions that either continue throughout the one or two episode storyline or join in on the adventure for the entire season of the show, filling in the gaps with a subplot of their own and keeping the Doctor from his/her quoted loneliness. Companions rarely last with the Doctor, some deciding that adventure in time and space is too much for them and opting to return to their normal lives, others become grander than the show can allow and wind up in spinoff shows to return later to rejoin the Doctor, and some others fall to the wayside, their characters lost to the writing of the storyline in the form of death or tragedy. Regardless of how the companions come to be or where they end up, it is imperative to the Doctor’s storyline that he/she never be left to his/her own devices for long, less the end of the world happen and the hero be left with no sidekick. The Doctor’s character is represented as someone with quirky intelligence while still maintaining a serious air of otherworldly danger via the writers’ use of past storylines to firmly uphold the Doctor as the hero archetype of the plot. The Doctor Who narrative is unique to its own story building based on its use of multiple actors portraying the titular character of the series over the years and the use of short term (single episode) and long term (multiple seasons) companions that come and go by episode and season. Almost every season, a new actor takes on the role of the Doctor due in part to the abilities the character holds within the narrative, allowing for an all-encompassing and ever shifting storyline that has gone on for more than 50 years. Writers are able to continue on with the singular character played by different actors

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throughout the years due to the storyline’s use of “Regeneration,” a magical ability that keeps the Doctor from permanently dying and a trait specific to those native to Gallifrey, the Doctor’s fictional home planet. Despite the change in actors over the years, Doctor Who’s general plot has remained the same with a monster of the week-esque side-plot that overarches into the season’s main storyline. The new age writers of the series take inspiration from the original 1960’s show by including old fan favorite monsters and bringing back familiar characters and antagonists, even if their faces have changed with time and different actor portrayals. The Doctor rides in the TARDIS through space and time battling evil and saving the world while keeping mostly human companions close at hand. Each version of the Doctor has anywhere from one to a small group of human companions on board the TARDIS at any given time, and each companion plays a pivotal role in maintaining the Doctor’s human moral and ethical characteristics while upholding the sidekick narrative. The companions who work alongside the Doctor all have their own unique backstory, age ranges, and purpose within the narrative and it is fairly rare that one Doctor shares a companion with a former incarnation, though fan favorites will occasionally return for cameos and holiday special surprises. While the companions differ in a multitude of ways, the one common thread they share is that they are all unequivocally human and meant to enhance the “strangeness” of the alien Doctor. According to critic Chris Baker of Wired’s Angry Nerd, Doctor Who companions are the “secret ingredient to the show’s success” with each companion “embodying a trait that the current incarnation of the timelords lacks.”2 Because no two versions of the Doctor share a companion for long lengths of time, due to the storyline coming to an end through a completed narrative or life-cycle, the claim that the companions’ purpose to fill the gap of the Doctor’s personality is one that holds credit within the show. If/when companions do return, it is outside of the sidekick role and usually they, themselves, have become the hero in their own stories. This makes it impossible for them to stay with the Doctor for any extended length of time, as the Doctor, metaphorically, is in need of that missing piece of themself that can only be fulfilled by the human sidekick. While each Doctor throughout the history of the show has held their own importance and significance for various reasons, this chapter will solely focus on the hero and sidekick dynamic established between David Tennant’s 10th Doctor and his season 4 companion Donna Noble played by Catherine Tate, as well as dictate Donna’s importance to the Doctor and companion relationships that come after this season. Donna Noble is a human from Chiswick London circa 2006, and truly is as human as they come. In the beginning, Donna was vapid, self-absorbed, and did not hold much stake in her own life. Her character was one that was simply happy gossiping with friends on

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the phone, arguing with her mother about her lack of direction in life, and being coddled by her lovable granddad. If she was employed for any length of time, she was happy and found solace in taking temp jobs that she would then ultimately end up fired from assuming she was not attempting to marry someone that would make her life comfortable. She would spend her days “missing the big picture” in life and complain about the fact that she was forgotten, or the world went on without her involvement. From an audience and Doctor perspective, Donna was no one special. Especially due in part to her time with the Doctor following up Rose Tyler (Billie Piper) and Martha Jones (Freema Agyeman), two fan favorite companions that left the Doctor’s story in heart wrenching ways. Having only recently recovered from the love story of Rose Tyler and the 10th Doctor, fans were not yet ready to welcome a character like Donna on the scene as perpetuated in the writing of the show because Donna was only meant to be a single episode companion at the time of her initial appearance. IMPORTANCE OF THE SIDEKICK When the audience first meets Donna’s character in the 2006 Christmas special “The Runaway Bride,” she manifests into the TARDIS surprising both the 10th Doctor and audience alike. Creatures and people do not simply appear in the Doctor’s spaceship, and it pegged a lot of questions from the main character and audience: just who was this strange woman in her wedding dress and how did she end up here? This feat alone was enough to situate Donna within the narrative of the plot as “special,” despite her background being contrary to the label. Donna’s early character borders on mundane. She lives at home with her mother and grandfather and is constantly berated for what little good she does in life while missing the “big picture” of the events happening around her. She cannot keep a job, and even her own wedding continued on without her presence, situating her character as insignificant to all those around her. She is made out to be of little consequence to the viewer and reminded repeatedly how little she matters in the grand scheme of even her own life. Initially when Donna was introduced to the show in the 2006 Christmas Special, it was determined through the narrative that she was special only because of the interference of others. During this episode Donna is seen berated by her mother, ignored by people on the streets when she needs help, and even the Doctor questions her significance when he states “Why you? You’re not special or powerful or important.” However, it is during this first introduction that Donna situates herself into her role of companion by stopping the Doctor from eradicating the entire race of evil spider aliens and

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making the statement: “You need someone to stop you,” signifying that she is aware of the importance of grounding the Doctor in human ideals. In this moment Donna is playing into her purpose of the sidekick and companion role by reminding the viewer that this version of the Doctor is incomplete without a sidekick: The Doctor’s companions serve multiple purposes. They stand in as a surrogate for the audience, equally confused, amazed and fascinated with the Gallifreyan time traveler. They learn important lessons about humanity’s place in the universe and the gravity of humility, kindness, and caring. They usually keep the Doctor in check, but sometimes let him or her indulge in baser impulses.3

Donna’s time as the companion would have originally ended in this singular episode, as she denies the opportunity to join the Doctor while recognizing that he does indeed need someone to fill the gap in his personality, however, Donna returns in 2008 and is ready to take on the sidekick role. Donna perpetuates the important sidekick characteristics, but upon her return there are a lot of times throughout the plot where she displays heroic parallels that blur the lines between mundane companions and exciting timelord heroes. When Donna reappears in episode 1 of season 4 “Partners in Crime,” the audience learns that her one day adventure with the Doctor has changed her. She is no longer the dull human woman who misses the bigger picture by focusing on irrelevant topics, and instead is now seeking adventure in the same way that the Doctor does: “she changes as a person as a result of her experiences with the Doctor. She becomes less self-centered and begins to believe in herself and her abilities.”4 The parallels drawn between Donna and the Doctor in the form of their outfits, vehicles, and ending up in the same place at the same time to answer to the mystery presented to them serve the purpose of alerting the audience that Donna, now tired of being a side character in her own life, has decided to emulate the Doctor as a way to step into the role of the hero. However, Donna’s stint as the hero shifts as she joins up with the Doctor at the end of this episode and returns to her predetermined role of sidekick until the finale where she once again blurs the lines between the two dynamics. Despite the fact that Donna plays the sidekick of the story, her importance is never questioned by the audience during the narrative of the season. Donna’s flippant personality is often at odds with the Doctor and his choices, and she takes care to remind him of the importance of other lives throughout their time together: “Donna understands how much the Doctor needs a traveling companion to make sure he doesn’t lose sight of himself.”5 Unlike previous Doctor Who companions such as Rose Tyler and Martha Jones, Donna is loud, boisterous, and attempts to insert herself into the situations in which

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she and the Doctor find themselves in. Despite being introduced as a character of little consequence, Donna makes sure that she is known, respected, and attempts to be commanding of her own choices, making it clear that she hungers to be a hero in the role of a companion, a character trait that makes her a fan favorite among the new age companions but also separates Donna from the other sidekick archetypes and adds yet another difference between her and the previous seasons companions. The differences between Donna and the 10th Doctor’s previous companions are not limited to only her personality and drive for heroics. While both Rose Tyler and Martha Jones fell into the trap of romantic interest with the Time Lord, Donna’s relationship remained wholly platonic with both her and the Doctor citing several times throughout the season that they were just friends. This lack of a romantic interest in the Doctor is pivotal to Donna’s character, as she was the only newly minted companion to ever harvest only friendship feelings toward the 10th whimsical hero. Too often female companions are pigeon holed into the part of the romantic interest, as seen in previous seasons with the 10th Doctor. This role skews the main objective of a sidekick, and rather than working toward keeping the hero centered in the realm of human emotion, the struggle instead becomes whether or not the hero can or should engage in a romantic relationship with this companion and whether or not the companion can exist within this new role. In the case of Rose Tyler, she gets what she wants and has her feelings returned by the Doctor, removing her from the sidekick role and centering her into the role of romantic interest and this relationship becomes her whole sole purpose within the plot: The grand amour of Rose and David Tennant’s 10th Doctor arose, too, from a chemistry that captivated a new generation of viewers and enabled them to adore the idea of Piper going off for the rest of her life with a zombie Time Lord created as a byproduct of a biological metacrisis, all in the name of love.6

Martha Jones falls into a similar situation but with a vastly different outcome. She spends the majority of her season pining after the Doctor, questioning his relationship with Rose, and later removes herself from the storyline in order to come back later as her own version of a hero archetype. Because Donna does not suffer from the romantic interest trap, she is free to spend her time within the plot monitoring the Doctor’s actions, seeing a larger picture of problems and offering her insight to the Doctor and truly simply being his sidekick: “Donna’s role in the Doctor’s life was similar to that of an elder sister, looking after a child prodigy. Yes, he can do stuff that she can’t do, but she ping-pongs between knowing this is astonishing and being appalled by what it all means. And she’s not shy of telling him either.”7

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Despite not feeling romantically engaged toward the Doctor, Donna does not suffer from any kind of spinster syndrome. Instead, the lack of a romantic inclination toward the hero opens up the narrative for Donna to showcase her use of compassion toward others. She is seen several times attempting to save children, reminding the Doctor of the importance of lives outside of his own, and taking on a mothering role toward single episode side-characters such as Jenny in “The Doctor’s Daughter” episode and children that appear within the sub plot. This compassion and motherly instinct toward others set the stage for a new kind of companion narrative for the Doctor. Rather than have to deal with the mess of romantic emotions, the Doctor is free to simply have a best friend that will watch out for him and the others around them. This makes the dynamic between the Doctor and Donna easy to watch, absorb, and gives the viewer more opportunity to see a realistic relationship within the plot of the show. Donna’s character is relatable to the audience in yet another way that centers her as one of the most important sidekicks the reboot has had to date. Throughout the plot Donna’s character is hailed as important by those around her, despite her not believing it herself. She is constantly referred to as “special” and “the most important woman in the world,” and several episodes foreshadow the conflict of the season finale where the entire Doctor Who universe would have been completely different had Donna not met the Doctor. During the episode titled “Left Turn,” Donna is removed from her sidekick role and instead plays an unwilling hero when she has to find a way to restore the timeline after having never met the Doctor. Once Donna has returned her timeline to the proper order, she returns back to the Doctor’s side and the two discuss how important Donna really is within the grand scheme of the Doctor Who timeline. These few moments where Donna takes control of her own fate to save the world center her more in the hero archetype as opposed to her sidekick companion role. Donna, who had continuously been saved by the Doctor throughout the season now had to be the one to save the Doctor as well as the world and finally becomes that “something special.” This leads the viewer into the final episode of the season where Donna very literally becomes something special that everyone has been hailing her as since her first introduction and ultimately removes her from her literary role of sidekick. During the episode “The Journey’s End,” the Doctor is confronted with an old fan favorite villain, the Daleks, a race of motorized aliens bent on exterminating the world. The finale welcomes an entire hoard of the Doctor’s companions from older seasons, yet despite the star-studded cast, Donna saves the day and situates herself into the role of hero. Donna’s character arc has been one that has had her finding her own sense of purpose and meaningfulness: “Originally Donna was aimless, drifting and waiting for a man to come along

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to marry her so she could live a normal, domestic life. But through her adventures she gains a sense of purpose and direction.”8 She has always attempted to situate herself as more than simply the companion, and despite the fact that she has always been saved by the Doctor, it was made clear that the Doctor was saved by her as well. This final episode provides Donna with a moment to become the hero of her own story when she absorbs the Doctor’s essence while trapped in a burning TARDIS. When this happens, Donna ceases to be human and instead becomes a human-time lord hybrid with all of the Doctor’s abilities, but with a human heart and mind. Donna is separated from the others when this happens, and despite a clone version of the Doctor springing to life with her, she is still the one to save herself and ultimately the day as she steps back out of the TARDIS to destroy the Daleks right in time to save the Doctor and the rest of the companions. Donna’s hero-self is one that is made even greater because of her human existence. Unlike the Doctor who lacks the human morale and connections and requires a sidekick to balance him out, Donna already comes equipped with these superpowers. She relishes the moments of being a hero, citing her human brain as what makes her so special, despite being a timelord in these moments, and makes quick work of solutions even the Doctor did not recognize: “You were both just Time Lords, you dumbos. Lacking that little bit of gut instinct that comes hand in hand with planet Earth. I can think of ideas you two couldn’t dream of in a million years.” However, Donna’s time as the hero is short lived, as during these moments her body begins to break down and the viewer learns that her human body is not capable of sustaining the magic that is the Time Lord side of her. In order to survive she must relinquish her memories of her time with the Doctor, thus reverting her back to the singular focused character she was in the beginning. It is in these moments that the audience is left with a narrative that reminds the viewer of the necessity of mortal sidekicks and superpowered heroes. Donna’s character could only exist so long as she maintained her humanity and remained within the bounds of her sidekick role; as her narrative was swiftly ended the moment that she stepped outside of the companion role and into the role of the otherworldly superhero. Donna’s importance within these moments is cheapened as she is returned to her normal mundane life, her memories of her grandness erased with the promise of a swift death should she ever remember how special she was: “Not only does Donna lose her new hybrid identity, she even loses the growth and independence garnered as a result of her adventures.”9 The audience sees Donna off as she claims to have “missed the events again” and blatantly ignores the Doctor in favor of gossiping on her phone; these actions are a far cry from the intelligent, compassionate, and important person she was only moments before. The Doctor returns to his TARDIS alone and melancholy,

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having saved Donna’s life by erasing who she was, but grieving for the loss of who she had become: “By the end of her time with The Doctor, she had grown into someone hugely compassionate, kind and caring, while her understanding of everything going on around her was just as strong as any of the other companions we had met before.”10 While Doctor Donna saving the day had a great impact on the audience and the climax of the season, it is important to note that Donna did not need the big brain of the Doctor, regenerative abilities, or any kind of heavily armed super weapon to situate herself as important within the narrative. Donna as the companion had already worked to achieve a level of super in her own right through her own actions and abilities by simply being the compassionate human she was. When the Doctor needed “someone to stop him,” it was Donna that stepped in and reminded him of the importance of the lives he could potentially take. She kept his darker moods in check by standing firm in her beliefs, refusing to give up on those the Doctor was ready to throw away for the sake of an unseen greater good, and matched the Doctor wit for wit at every turn. Donna without the final episode ending sequences that created her to be more than human was already creating her own stand within the narrative and growing into her importance. Gone was the woman from episode 1 that was ignored on the streets, and instead, in her place, stood the most important woman in the entire universe. If Donna’s narrative had been left to go the way of Rose Tyler and Martha Jones, where she would have left the role of companion willingly, returned to her life as a changed woman, and given opportunities to be the hero in her own story as the two former companions were offered, there would have been further room for growth within the story of the 10th Doctor and his later regenerations. Instead, Donna’s ending heralds her more as a martyr, sacrificed for the sake of the future in the Doctor Who universe as she paves the way for future companions to be bolder, brasher, and infinitely more than those that came before her. Both Rose Tyler and Martha Jones did ultimately have the ability to become the hero and return to the narrative later to show off their newfound positions in the universe, a feat that Donna was not able to achieve given the way her story ended. However, Rose and Martha were both companions that were written into the narrative to not only fit the role of sidekick but fall victim to becoming the romantic love interest. Having never had the opportunity to grow outside of that trope, their development was lost to cliché writing in the form of tears at the loss of their beloved Doctor, later returning as the healed heroes of heartbreak ready to take on the world and fight at his side. Donna is early proof that the writers of the show failed to execute a female friend perspective, deciding to fridge the well thought out character development, rather than allowing her to continue on platonically within the universe of the

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Doctor, an ongoing problem even in today’s recent seasons: “Doctor Who has never really written female friendship before, certainly not in the same way it handled the thorny relationships between the Doctor and companions like Rose or Clara.”11 However, all is not lost in terms of feminist perspectives in the writing, as echoes of Donna Noble’s character continue on in other ways throughout the rest of the show’s new age incarnation in the form of the personality traits of future companions and Doctors. Despite Donna’s ending within the show leaving some to question the treatment of sidekicks in Doctor Who, Donna’s time spent as the companion set the stage for the future of the Doctor and his companions. Shortly after Donna’s return to her mortal self, the Doctor regenerates and the 10th Doctor becomes the 11th with a new actor, new companions, and a new writing cast. Where the 10th Doctor was quirky, stern, and melancholy, cited later on to be “the Doctor’s emo phase,” with a need for his companions to remind him of the importance of life and the future, the 11th version of the Doctor (Matt Smith) is one that stems from the lessons that were learned while in the company of Donna Noble. This new Doctor’s character has shifted to embody more compassion, showing more of a care for human life without the need of his companion’s constant reminder to stay grounded in human morals or ethics. It is not coincidental that the Doctor’s character has shifted so drastically after leaving Donna behind only a few short weeks between the narratives. The 10th Doctor cited Donna as his “best friend,” and in his final words to Donna’s grandfather upon his departure stated: “I would never forget her.” Viewers are already aware that the Doctor’s memory between regenerations remains intact, as he recognized Sarah Jane Smith, a companion from the 1960s version of the show without any need for reminders and the audience simply accepts it. One could raise the point that the Doctor’s sudden shift in character perspective is due to Donna’s importance within the plot prior to this new season of the show. CONCLUDING THOUGHTS Not only has Donna’s influence changed the Doctor, but there are several parallels between Donna and the future companions of the show, with familiar themes reappearing and tugging at the viewer’s heartstrings. Amy Pond (Karen Gillan) takes the stage as the 11th Doctor’s first companion and even within the first episode of the new season, fans are met with an attitude reminiscent of Donna Noble. She is loud, bold, gets in the face of the Doctor with an intent similar to that of Donna’s where she refuses to be treated as

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less than because of her lack of abilities. While Amy Pond casts off Donna’s platonic relationship with the Doctor in favor of once again crushing hard on the alien Time Lord, this dynamic exists in a different manner than the previous companions that fell into the trope. Rather than have Amy go the way of Rose Tyler and admit her feelings for the hero, stepping too far off of the path of sidekick and ending in tragedy, Amy instead realizes that the Doctor is her greatest friend and moves back into the vein of the familiar platonic sidekick x hero dynamic: “After wisely veering away from another romance between Doctor and companion, Karen Gillan’s Amy Pond quickly came into her own, and her unshakable friendship with the Eleventh Doctor ran far deeper than most TARDIS pairings.”12 In these moments, Amy Pond’s creation exists as an echo of Donna Noble within the narrative, and it was due to Donna’s time as the sidekick that the later versions of the Doctor and the future of the show exist within the confines that they do. Clara Oswald (Jenna Coleman) stands by the 11th Doctor as his time comes to an end and continues to run with the 12th Doctor (Peter Capaldi) until her ultimate demise. When Clara comes on the scene, her character is reminiscent of Donna in the form of her introduction and ending. Clara began as a one show sidekick meant for storytelling purposes in a subplot, only later to join the Doctor for an extended length of time, similar to Donna. She is also a companion that goes from the mundane into becoming something more, only to once again lose it all at the end. In a similar vein to Amy Pond holding a torch to Donna’s brash wit, Clara holds pieces of Donna’s compassion toward others, her character often caring for those around her and grounding a darker version of the Doctor with Capaldi’s 12th iteration of the Time Lord, characteristics that prior to Donna’s time as the sidekick, did not exist within the confines of the show’s reboot. The similarities in the companions that come after Donna’s time on the show and the differences that the show takes from prior to her existence with the narrative all situate Donna Noble as one of the singular most important sidekicks in Doctor Who’s history. Donna’s importance as a sidekick is noted through her ability to save the Doctor, the timeline, and the world. Unfortunately, she is a character that could only exist so long as she remained within the confines of her role, ending her time on the show as a martyr that paves the way for future companions and the hero’s character development. The future success of the Doctor Who franchise would not have been as it was had Donna Noble not existed within the confines of the plotline. While she is oftentimes overshadowed by the more popular companions such as Rose Tyler or Amy Pond, Donna Noble is by far the most important companion and sidekick in the new age of Doctor Who and it was thanks to her existence that the show continued on with a newly minted emotional hero and a bold unwavering companion. The 10th Doctor said it best when he stated: “And for one moment, one shining

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moment, she was the most important woman in the whole wide universe” (“Journey’s End”). NOTES 1. David Layton, “Male and Female Archetypes in Doctor Who,” Consciousness, Literature, and the Arts 11, no. 2 (2010): 8–10. 2. Chris Baker, “What Makes ‘Doctor Who’ Great are the Sidekicks, Not the Timelords,” Angry Nerd, Wired.com, (June 10, 2020). 3. Jordan Baronowski, “Doctor Who’s Companions Ranked Worst to Best.” Looper, www​.looper​.com​/189387​/doctor​-whos​-companions​-ranked​-worst​-to​-best​/ (June 10th, 2020). 4. Alyssa Franke and Danny Nicol, “‘Don’t Make Me Go Back’: Post-Feminist Retreatism in Doctor Who,” The Journal of Popular Television 6, no. 2 (January 2018): 197–211, doi.org/10.1386/jptv.6.2.197_1. 5. Maya Philips, “The Doctor Who Companions, Ranked,” Vulture, www​.vulture​ .com​/2018​/12​/doctor​-who​-companions​-ranked​.html (June 10th, 2020). 6. Jenny Colgan, “The bolshie, brilliant history of the women in Doctor Who,” The Guardian, www​.theguardian​.com​/lifeandstyle​/2018​/aug​/27​/the​-bolshie​-brilliant​ -history​-of​-the​-women​-of​-doctor​-who (April 29, 2021). 7. Fraser McAlpine, “A Companion To The Doctor’s Companions: Donna Noble,” BBC America, www​.bbcamerica​.com​/anglophenia​/2011​/08​/a​-companion​-to​ -the​-doctors​-companions​-donna​-noble (June 10th 2020). 8. Franke and Nicol, “‘Don’t Make Me Go Back’”: 197–211. 9. Franke and Nicol, “‘Don’t Make Me Go Back’”: 197–211. 10. Dan Peeke, “Doctor Who: 10 Reasons Donna Was The Best Companion,” ScreenRant, screenrant.com/doctor-who-donna-noble-best-companion-ten-davidtennant/ (June 10th 2020). 11. Lacy Baugher, “It’s Time for DOCTOR WHO’s First All-Female TARDIS Team,” Nerdist, nerdist.com/article/doctor-who-all-female-tardis-team-yaz-jodiewhittaker/ (April 29th 2021). 12. Craig Elvy, “Doctor Who: Every Doctor’s TRUE Companion,” Screenrant, screenrant.com/doctor-who-regeneration-true-companions-rose-amy-clara/ (April 29th 2021).

Chapter 7

Mission Control Barbara Gordon’s Oracle Breaks the Mold Stephen M. Zimmerly

In the 2017 movie, Spiderman: Homecoming, Peter Parker’s best friend Ned asks him if he can be Spiderman’s “guy in the chair”: the non-powered sidekick that superheroes often have on the other end of the telephone. Here is how Ned describes it: “you know how there’s a guy, with a headset, telling the other guy where to go? Like, like if you’re stuck in a burning building, I could tell you where to go, because there’d be screens around me, I could, you know, swivel around them, because I could be your guy in the chair!”1 Ned ultimately gets to live out his dream: going back and forth between multiple computers to give Peter driving directions, to look up car schematics, and to make phone calls to Happy Hogan on Peter’s behalf. In fact, without Ned’s phone call to Happy, Peter would not have been able to connect the final pieces of the Vulture’s plan. Ned’s desire to be “the guy in the chair” (and the huge success of the film and its sequels) brings to the cultural foreground a performative role for sidekicks that is relatively ignored, but is surprisingly well-established. Movies and television use this kind of sidekick (also known as “mission control”2) quite often,3 and it is not surprising that Ned chooses mission control as his coveted sidekick role, as it works well for computer savvy, non-super-powered sidekicks. By and large, sidekicks are usually a pretty standard breed of characters: in fact, it has been suggested by Peter Coogan that the very foundational use of a sidekick is to “give the hero someone to talk to.”4 As argued elsewhere, sidekicks usually compliment their heroes in at least four ways: to explain the narrative to the reader,5 to put someone next 95

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to the hero to challenge her in her decision-making,6 to play the fool and offer levity,7 and/or to partner with the hero to the point where it becomes difficult to tell who is the hero and who is the sidekick.8 Mission control can function in these capacities, and it remains an intriguing take on the sidekick for one important reason: he or she is not out “in the field” fighting crime. Ned, for all his Marvel Cinematic Universe glory, only offers an introductory understanding of mission control. For a far more intriguing and in-depth examination of a mission control sidekick, one should consider Barbara Gordon. Barbara, aka Batgirl, survives a gunshot wound to her spine and is left without the use of her legs. She reinvents herself as Oracle, a mysterious and ultimately indispensable internet presence and information broker. Partnering herself with Black Canary, the two become the Birds of Prey: Black Canary is the hero in the field, and Barbara is the sidekick “in the chair,” to use Ned’s expression. (Birds of Prey, as a title and thematic comic, is still relevant in today’s popular culture consciousness as DC Entertainment released the film, Birds of Prey: And the Fantabulous Emancipation of One Harley Quinn in 2020.) However, studying the relationship between Oracle and Black Canary shows an increasingly complicated relationship, especially regarding decision making, verbal exchanges, and situational control—or, to ask the question: who calls the shots? The answers found through this study are not necessarily definitive, unsurprisingly. Although Oracle is the “non-super-powered mission control,” she challenges the parameters of this sidekick. For a clear example of a more easily definable pairing: the experience and age difference between Batman and Robin clearly separate who is the hero and who is the sidekick. This holds true for almost all of the people who have been Robin, both male and female, for as long as they remain juveniles. Oracle, on the other hand, has the experience—she was/is Batgirl. She also has the age: she is an adult, with an apartment, advanced academic degrees, and the independence not usually afforded a teenage ward. Think also, briefly, about Dr. Watson, the “quintessential” sidekick of detectives: he simply cannot “deduce” the answers the way Sherlock Holmes does. Watson is always astounded, and is always the sidekick. Oracle, however, is the Holmes of the Birds of Prey: she deduces, problem solves, and analyzes information. And yet . . . she is the sidekick. Isn’t she? The roles with Oracle and Black Canary do not stay so easily defined for long; things become blurred considerably, and they do not ever get clearer. However, by the end of this study, what will be clearer is how Oracle illustrates, highlights, and then challenges the definition of conventional mission control sidekicks.

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BACKGROUND To understand how Barbara Gordon operates as Oracle, and subsequently how she works with Black Canary, one must consider the history of how she leaves Batgirl behind and becomes Oracle. The second incarnation of Batgirl (the first was Betty Kane), Barbara has always “remained a strong-willed woman who, most important, is adaptive to change. She’s a survivor.”9 This notion of adaptability follows Barbara through comics from the late 1960s (she first appeared in Detective Comics #359 in 1967), 1970s, and 1980s—to include a stint serving in the US Congress.10 Barbara’s adaptability reached a watershed when Alan Moore, creator of such celebrated graphic fiction as Watchmen and V for Vendetta, wrote the one-shot graphic novel The Killing Joke (published in 1988). In this text, the Joker shoots Barbara in the abdomen, severing her spinal cord, and leaving her paralyzed.11 Furthermore, the Joker’s mistreatment of Barbara continues: “the young woman, who is also Batgirl, is then stripped naked and subjected to a humiliating photoshoot, with the photos later blown up to monstrous proportions in an attempt to nudge her father over the edge.”12 These elements (and several others) of The Killing Joke were—and remain—problematic, to say the least. The story goes that when Alan Moore asked DC editor Len Wein for permission to follow his Barbara storyline, his answer was, “Yeah, okay, cripple the bitch.”13 Some years later, Moore went on the record to call his storyline “far too violent and sexualised [sic] a treatment,” specifically and pointedly regarding his opinion that the Batman comics revolve around “a simplistic comic book character.”14 (As Moore has published more than his fair share of questionable and/or controversial material, including Lost Girls and Promethea, understanding his retroactive regret as reflective not on the violence, but on the simplicity of Batman, is problematic in and of itself.) More to the purposes of this investigation, the lasting interest and impact of The Killing Joke remains with how many plot elements became standard (or standard-enough) within the greater Batman continuity. The provided premise for Joker’s backstory is generally recognized as canon, even as it was portrayed as only a potential explanation of the ambiguities surrounding his origin. Barbara’s paralysis also stayed—with considerably more permanence. Much has been written about this delegation of Barbara Gordon to a wheelchair: both positively and negatively.15 Barbara is rightly applauded as a complex heroic character who navigates Gotham City while using a wheelchair. There are panels of Barbara using a swimming pool, lowering and raising herself into and out of the pool in a motorized lift; or segments where she practices stick-fighting from a seated position;16 or even scenes

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where she moves herself (with only her arms) through complicated ductwork to fix wiring problems with her surveillance and research equipment.17 It is this equipment and connection to the internet that gives Barbara her new crime-fighting identity: she “dedicated herself to building the world’s most powerful computer system . . . to fight evil.”18 As Oracle, Barbara applies her genius-level intellect and extensive academic training in library science and research. She is, perhaps, “arguably the first true librarian-as-super-hero seen in mainstream comic books.”19 She digitally steals millions of dollars from high-level villains to finance her operation,20 and she works with all kinds of superheroes: from Batman to the Suicide Squad.21 Oracle “occupies a unique place in the annals of superhero-dom—the ‘information goddess’ as crime stopper.”22 The negative aspect of Barbara being paralyzed begins with the recognized, problematic treatment of women in comics in general: the aspect of “fridging” female characters.23 The term is explained from Birds of Prey writer Gail Simone’s website, “Women in Refrigerators,” a twenty-year-old, but still internet-available page, where Simone postulates, “it occurred to me that it’s not that healthy to be a female character in comics . . . superheroines have been either depowered, raped, or cut up and stuck in the refrigerator.”24 The webpage’s title pointedly refers to an event in Green Lantern #54, where Kyle Rayner comes home to find his girlfriend, Alexandra DeWitt, has been killed and stuffed into his refrigerator. To this end, Simone even includes a scan of Kyle finding Alexandra on the front page of “Women in Refrigerators.” Barbara Gordon fits into this “tradition” as she is “fridged” solely for the purpose “to show the violence’s effect on male characters,” in this case as Joker has used his violence toward her in an attempt to drive her father insane.25 The controversy continued beyond the initial fridging of Barbara, particularly that “many elements of other superheroes have been rebooted,” while Barbara’s paralysis remained.26 Remembering, of course, that because these characters exist within a fictional, comic-book universe, the question remains: why can’t any/every character be healed miraculously? It is impossible to overlook how Bruce Wayne notably recovers, mysteriously and/or supernaturally, from Bane breaking his back—and paralyzing him.27 Furthermore, the system of Lazarus Pits controlled by Ra’s al Ghul—elemental pools where one can bring someone back from the dead—offer eternal life, healing from all sorts of maladies, and give the Batman Universe the equivalent of the Biblical Pool of Bethesda. The argument has gone back and forth since The Killing Joke debuted over thirty years ago: how does one weigh the mistreatment Barbara suffered against the positive and affirming portrayal of a strong, empowered individual using a wheelchair? As has often been the case, the debate has become even more problematic now, as DC’s New 52 retconned Barbara’s time in a wheelchair to only a few years before she regained

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the use of her legs: she is now Batgirl, once again.28 This has also proven controversial, as the retconning was both an “unconvincing fix of [her] spine, after twenty-five years of disability,”29 and takes away “a powerful, independent woman and the only superhero with a physical disability in the DCU.”30 This expectation falls in line with the understanding that when new talent is given command of a character/title, the “team will be expected to have a shot at redefining a character’s origin story,” albeit with the expectation that “continuity will be seen to be preserved.”31 In this case, both the preservation of continuity (allowing Barbara to remain Oracle) and the abandonment of continuity (returning Barbara’s use of her legs) have angered fans. As a matter of importance, particularly here in this argument, “Barbara Gordon has no superpowers and uses a wheelchair. She succeeds as a superhero not in spite of or because of her disability, but while living with it.”32 While it is important to recognize both the beginning and ending of Barbara’s paralysis and the subsequent debate surrounding both events and the intervening period, this essay picks up Barbara’s narrative as a non-super-powered human who must fight crime from the other end of the telephone. And it is here that I begin investigating her hero/sidekick relationship with Black Canary. IMPORTANCE OF THE SIDEKICK For the purposes of examining Oracle, three collected editions of Birds of Prey were utilized, chronicling the beginning portion of writer Chuck Dixon’s time overseeing the creation and development of the title, including several one-offs, issues from other titles, etc., through Birds of Prey issue #21. While Gail Simone’s time as author of Birds of Prey develops Oracle in serious, important ways, considering the entirety of Birds of Prey would prove unwieldy in this instance. Limiting this study to the convenience of these three collected volumes suffices as the focus is Oracle as the heroic partner safely behind a computer screen, even if it is not exhaustive. Every piece of evidence considered here ultimately ties back to understand how Oracle first defines and embodies the conventional mission control sidekick, and then works to break down this convention. Using the collected volumes also allows for a streamlining of narrative, instead of bouncing back and forth between Birds of Prey, Ravens, Nightwing, or Showcase titles. Conveniently, and interestingly, volume three ends at a significant moment that this study will come back to later. Inconveniently from a research standpoint, there is no sequential pagination; endnotes refer to individual comic issues in an effort to be as specific as possible regarding source material.

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When Oracle first connects with Dinah Lance, aka Black Canary,33 she remotely arranges for Black Canary to take down an international conman, who promises developing countries that he will save them millions of dollars in building environmental improvements, but secretly pockets most of the cash. He builds substandard edifices, and has his personal terrorist group rush in and destroy the evidence: which, of course, allows for even more money to be taken through insurance claims. Note: from this point forward, the names Oracle and Canary are used to refer to Barbara Gordon and Dinah Lance, respectively. This reference is done out of convenience and also because the masked identity begins to overshadow the secret identity, as has so often been the case with superheroes. As mentioned before, the balance of power between Oracle and Canary’s hero/sidekick relationship is tremulous. Oracle initiates the partnership, which already challenges how a hero typically might find her sidekick. Subsequently, Oracle knows more about Canary than Canary knows about her: Oracle knows where Canary is in the first place, she asks/requires Canary to wear a communication device that Oracle can use to speak to her and to track her geographic location, and, perhaps most importantly, Oracle knows Canary’s real name. This is an important distinction, as Canary does not learn Oracle’s real name—or real location—until considerable time has passed. Knowing how important secret identities are in this profession, Oracle holds a serious advantage in this regard. It is also imperative to note that the sidekick, Oracle, withholds the intimacy of giving her real name, and the hero, Canary, is powerless to force the issue. Secret identities aside, a considerable amount can be learned about their day-to-day partnership by studying three important aspects from the inaugural issue of Birds of Prey that highlight Oracle’s relationship with Canary. The first aspect is apparent from the beginning, and comes to a distillation when Canary fights Lynx, another female martial-arts master—but with a clearly evil eye-patch. As Canary gets kicked in the face, Oracle, safely ensconced in her Gotham City hideout, tells her “Get up, Dinah!” Canary responds, “Get bent, Oracle.”34 Here, the authority rests with Canary; what is Oracle going to do, so far removed from the physical altercation? The distance separating the two is both a defining element of a mission control sidekick, as well as a significant hindrance in Oracle’s ability to actively participate in this partnership. The second aspect is Oracle’s speeches. Just a few pages later, Oracle implores Canary to get back up and continue fighting Lynx when Canary is, once again, seemingly down for the count. Oracle says, “You remember Batgirl, Dinah? A tough honey. Tough enough to hang out with the Dark Knight himself.” When Canary asks what that has to do with her, Oracle retorts: “It’s got everything to do with me! Do you think I like sending out

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agents to do my dirty work? Do you think I get my thrills living vicariously? Do you think I don’t know hurt? You don’t know hurt, sister! I can’t get off the mat to take down thugs like Lynx on my own . . . you can and by God, you will, because if you don’t, you’ll regret it—the rest of your life.”35 Of course, Oracle’s speech is rousing enough to get Canary back on her feet, and back in the fight. Fast-forward another few pages, and readers find Canary holding the conman antagonist at her mercy. Canary had previously dispatched Lynx, in an absurdly quick fashion considering the difficulty she had before. Canary wonders out loud why she shouldn’t “throw [the conman] to the street.” Oracle answers, falling into the voice of reason role that sidekicks so often occupy: “he’s not worth it.”36 The Batman code of conduct includes a strict no-killing policy, and Oracle holds to that here, even from a distance. In sidekick terms, she is acting as the voice of reason. In fact, Oracle’s ability to clearly see and interpret complex scenarios remains one of her main functions as existing above and outside the physicality of crime fighting. Even with Oracle’s inspirational pep-talks, it is hard to look past key element number three: Canary does all of the physical work. Oracle gives information and support, offers key intelligence, passports, money, technology, etc. Canary, conversely, gets kicked in the head, and delivers kicks to the head. And yet, Oracle is the instigator; she chooses which target to go after next, and she makes it possible for Canary to succeed. This sets up a working relationship that is tenuous at best. The friction that comes from such a scenario presents the next element of what Oracle uniquely brings to any consideration of a character as mission control. Most mission control sidekicks answer the phone, offer the help that is requested, and hang up—hoping for the best. Sometimes, there are subsequent phone calls, calling up deus ex machina moments of the cavalry arriving, either conveniently right on time or ironically late. For the most part, Oracle bends this convention from its very inception. As a “prophetic” keeper and seeker of knowledge,37 Oracle often does more than open a few doors remotely, or hack into a security system to allow access.38 Furthermore, Oracle’s previous life as Batgirl gives her an in-depth understanding and empathy with field work, but any desire to join in is now insatiable. However, there are plenty of instances where her new identity as Oracle provides her a much broader reach and influence to stop crime than she ever had as Batgirl alone: “nowadays I can do so much more as Oracle than I ever could do as Batgirl. There’s nothing I can’t find out. No problem I can’t solve.”39 Ultimately, this previous history serves to better allow Oracle to assist the in-the-field assets, but it also creates tension and friction between her and Canary. Friction with “the one in the chair” is not something usually occurring within more basic examples/ uses of this kind of sidekick. Indeed, in instances where the narrative chooses

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not to focus on Oracle, she competently plays the straight-forward role of “typical” mission control. In Showcase ‘96 3, “Birds of a Feather,” Oracle gets third billing: behind Lois Lane and Canary. This short adventure places Lois Lane and Canary in the clutches of a low-level villain, the Foreman of an illegal sweatshop who keeps his workers from revolution by psionically inflicting pain. The focus is clearly Lois, Canary, and the heart-to-heart they share: the loss of Superman and Green Arrow as lovers, respectively.40 Oracle says and does very little, the sum of her involvement amounts to little more than downloading building blueprints, marking how long Lois and Canary lay unconscious (“Three hours, twenty-seven minutes”), and “studying the schematics to the warehouse.”41 Oracle does surmise the plan to defeat the Foreman through mental fortitude, but Oracle, Lois, and Lee the sweatshop worker carry it out. The issue ends on a bitter note about a superhero’s commitment to his city trumping his commitment to his love for a woman; something to which Canary and Lois “relate . . . more than you can ever know.”42 Oracle is not part of this closing conversation. For the tension that eventually challenges this status quo, the events of Birds of Prey: Revolution 1 are used, as it is here that readers first see the signs of a rift between Canary and Oracle. The mission begins as a relatively straight-forward bust of a sex-trafficking ring in Gotham, but grows to include attacking the source of the trafficking: Santa Prisca, a despot-controlled island in the Caribbean, and an oft-used location within the DC Universe. Canary finds herself neck-deep in a number of intersecting agendas, and Oracle’s advice is, “Scrub this mission. It’s getting too complicated. Woods full of commandoes. Some kind of narcotics syndicate. You’re going to end up on the wrong end of a coup.” Canary responds with, “I didn’t come all this way to back off now.” Oracle tries again: “Cut and run. Now.” Before Canary removes her two-way radio, she leaves Oracle by saying, “With a boatload of human cargo here? Get real.” Oracle’s objections for Canary to “think this through” are lost—and Canary moves forward on her own.43 While Oracle is understandably irritated (“Stupid, Stupid, Stupid.”), she takes it upon herself to place a last-ditch phone call to enlist help for Canary. It works, Canary is saved, and while Canary forcibly boards and raids the despot’s helicopter, Oracle lectures her: I’m serious. You majorly ticked me off. Dinah . . . we have to talk. Now. You take off the microreceivers. You put yourself in mortal danger. I move heaven and earth to save you. Forget that all of this could have been prevented. Never mind that you dissed me. You worried me to death! I don’t give a damn if you’re hanging off an attack chopper a thousand feet in the air [which is exactly what Canary is doing at the moment] . . . I’m not going farther in this “partnership” until we talk about this.44

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Once the plot resolves, with the despot removed from power and the human trafficking stopped, Canary is safely walking along a beach when she asks Oracle, “Friends again?” “I’m not sure,” Oracle replies. “Not after tonight. I think ours may be best left a professional relationship from here on, Black Canary.” Canary tries to reason, saying “Look, Oracle—I’m the one on the ground. You can’t fully understand each situation as it comes up.” While she is entirely correct in this instance (more on this in a moment), she invites another lecture: I am sorry. Stupid me didn’t understand that going up against a slavery ring singlehanded with no strategy and no gameplan made plenty of sense “on the ground!” Did it ever occur to you that maybe you can’t fully understand a situation when you don’t take the time—or have the time—to think it through? That’s what I’m here for. If you want to go rolling through life without a clue then do it without me! But if we’re going to work together then I am the word! Oracle out!45

Oracle is flexing her muscle in the relationship, metaphorically speaking. Her verbal dressing-down of Canary is partly justified, as Canary had broken the partnership, silencing her connection and ability to communicate with the only lifeline openly available to her. The reader sees Oracle holding a stuffed Batgirl figure against her face, it periodically appears in the background of several panels: a pointed reminder of the life she was once able to live. This call-back to a life as Batgirl reinforces the uniqueness of Oracle’s role as mission control, especially when coupled with Canary’s entire ignorance of that past—or of any past whatsoever. The poignancy of this moment is lost on Canary (“You can’t fully understand”), but not the reader, as the dramatic irony carries the years of previous Barbara Gordon/Batgirl stories and adventures. This is also one of the few self-pitying moments afforded Oracle, as her mental strength and fortitude are as much a part of her new identity as her online prowess. Conversely, Canary ends the issue by telling herself, “But I saved all those gabachos,” a poignant moment of self-pity and self-reflection that is lost on Oracle. In this instance, apart from whatever past life Oracle may have once led, she “can’t fully understand” what just transpired. The working relationship and friendship between Oracle and Canary only remains strained for a single issue: after they have both decided to “take a break” in their relationship, as it were, both have individual adventures involving a would-be male love interest. Both inevitably go sour. When the escapades resolve, the following dialogue between Oracle and Canary occurs: Oracle: “So . . . where do you and I stand—?”

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Canary: “All systems go, far as I’m concerned. And this time I won’t go off the program. Oracle: “I’m not sure that’s the way to go.” Canary: “Say what?” Oracle: “You have to access the situation on the ground.” Canary: “Do I have the right number?” Oracle: “All I’m saying is, our talents complement one another. I can’t pretend to know everything.”46

Oracle’s reversal of opinion/attitude is punctuated by earlier images of her loneliness. Even though she has regular contact with Batman (not her favorite person47), Dick Grayson (even to the point of his eventual marriage proposal48), her father (actually her uncle49), and others in the Bat-family, Oracle lacks female companionship. This has been a long-standing problem, of course, considering her position as the single female, literally or figuratively, in a crime-fighting cadre of men. The loss of her legs has also impacted her prospects at romantic relationships, or at least she has used it as an excuse to remain single.50 Transversely, Canary has virtually zero limitations: physically, romantically, or otherwise. As she cuts ties with Oracle, the inequality of their situations is tangible and sharp. As it is revealed that the potential love-interests for both Oracle and Canary want to use them for some reason, namely to rob Oracle’s apartment and to use Canary’s protection from other white-collar thieves, these misadventures intentionally parallel each other—perhaps Oracle and Canary are not as different as they, or the readers, thought. Canary reaches out to Oracle first, and they reconcile. This intimacy is shared with tubs of mint chocolate chip ice cream, apparently the preferred flavor for when one finds out a man is a “total wienie,”51 albeit only the reader knows both Oracle and Canary are eating it at the same time. The agreement to reenter the kind of relationship they had begun previously is further reinforced and echoed later on in the series, with what has been described as Oracle’s creation of “a family of mostly women.”52 Aside from the relationship/partnership issues cause by the identity barriers, or perhaps because of them, the ultimate challenge to the convention of mission control sidekicks comes when Oracle becomes the target. As early as Birds of Prey: Batgirl #1, the final issue before Birds of Prey became its own standalone title, Dixon lays the groundwork for the first overarching, “bigbad” presence: Roland Desmond, aka Blockbuster. Desmond is the highly intelligent, steroid-infused criminal mastermind often stopped by Nightwing. The reader eventually learns that Oracle has a long-history of siphoning—or brazenly taking—millions of dollars out of Desmond’s offshore accounts and

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using them to finance her technical and operational needs. This is clearly a win-win for Oracle, as she weakens a significant criminal presence and bolsters her own ability to foil crime at the same time. However, Birds of Prey #19–21, along with cross-over narratives from Nightwing #45 and #46, set up the culmination of Desmond’s desire to capture and end Oracle’s meddling with his affairs. (It is later revealed that he also wants to use her to help him secure a suitable heart-transplant from Gorilla City.) This is not the first time Oracle is attacked in her hideaway, but it is the first systematic and sizable attack from organized supervillains, and the first to directly involve Canary. Home-invasion occurs from time to time for Oracle, notably in Showcase ‘94: Oracle, when Oracle deals with a presumed stalker—she allows him into her apartment, quickly dispatches his hired muscle, and overcomes the stalker through her mastery of “Escrima, the Filipino art of stick fighting.” Dick Grayson, called in as Batman for back-up, watches quietly from the shadows as she overcomes the would-be home invaders. Oracle tells him after it is over, “It felt good. I hope I don’t need to do that again, but it feels good to know I can.”53 Remember as well, the aforementioned would-be love interest and his set of midlevel burglars, all of whom Oracle single-handedly defeated.54 Oracle’s need to call upon Canary for aid remains the most interesting element in the Desmond-hunting-Oracle story-arc: the sidekick is no longer safely ensconced, far away from the action. In fact, Nightwing, Robin, and Alfred also join in. While Oracle had called Batman as backup in her early days, and while she had handled the in-the-moment action against the midlevel burglars, this time it is different—and Oracle knows it. Desmond has employed a number of computer hackers and masked villains to help him corner Oracle: some are interrogating a captured Nightwing, others are chasing Canary, and still others are tracking Oracle’s movements through the internet. Canary gives Oracle the initial heads-up, telling her, “We were set up. And I mean ‘we.’ Somebody wants to know about you. Bad.” Oracle asks, “they mentioned Oracle by name?” “Yeah. Some babe with a Jane Austen accent. And a little freak with a thing for knives.” A few pages later, while Oracle drives to a stronghold—a submarine in the city’s docks—she very pointedly remarks to Canary, “I’m supposed to have the cushy desk job. Now, I got someone squeezing me through you.” The irony of Oracle’s statement is the point, and also the inevitable plot-line for anyone utilizing a sidekick in the chair: eventually, moving the peril to the supposedly out-of-reach partner creates interesting and increased anxiety for the partner out in the field. It is the same trope, essentially, as kidnapping the spouse and/or children of the hero: they’re usually off-limits, safe at home. A significant and very personal line is crossed when villains attack those who were to remain protected by the layer of secrecy built into superhero work.

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The most pointed use of Oracle’s rising peril is, of course, the shifts back and forth between Desmond closing in on her location, Oracle’s allies rushing to help, and Oracle’s own preparations for the inevitable showdown. Oracle has told Canary, “I’m going to break a rule here. How soon can you get back to Gotham?” Canary asks, “you think they’ll find you, Oracle?” “I might have to let them find me . . . my work is too important. I can’t risk exposure. I have a plan to get Blockie off my back. If it works.”55 The artwork and panels accompanying this exchange are significant. Canary wakes up a hostage in the back of a jet. Her hands and legs are bound with tape, and she lies on her back. Juxtaposing Canary is Oracle, preparing her defense in her stronghold. She sits on the floor, her legs intentionally bound together. As Oracle lowers a wall in their relationship, explaining her location, the five vertically stacked panels switch quickly back and forth between Canary and Oracle, showing their similar, bound positions and close ups of their faces. It is a moment of intimacy, both through Oracle’s slight personal revelation (something she has refused to do up to this point), and through the visual representation of their connectivity. Later on, Oracle leaves a last will and testament to “Dick, Bruce and whoever Robin is these days.” The e-mail, designed to send if Oracle doesn’t log-on within twenty-four hours, is a paltry excuse for a last will and testament, and serves instead to show her emotional state. When Canary opens up communication, she asks, “You have a cold, Oracle? Sounds like sniffling.” Oracle responds, “Just a pity party, Dinah. It’s over.” Soon, while Oracle is actively under attack, Canary asks, “I’m thirty minutes’ driving time from you. Can you hold?” Oracle: “I can hold.” Canary’s response is further telling: “I just realized. I don’t even know what you look like.” The irony here comes from the “I just realized.” Canary has worked with Oracle for a significant amount of time, through quite a few missions—including saving New York City from Joker’s plan to bomb it,56 discovering a time-warping Soviet satellite,57 and a surviving a journey to Apokolips.58 However, faced with the possibility of meeting Oracle in person, Canary’s realization that she knows virtually nothing about Oracle’s physical features reminds both her and the reader that although their friendship has evolved beyond mere acquaintance or professionalism, much remains shrouded in mystery. During the siege, Oracle’s series of defenses (and her own prowess with stick fighting) dispatches all hostiles inside the submarine. She escapes the quickly flooding submarine by swimming through its depths, using a Batman rebreather. She is weakened by blood loss, however, as she had been shot in the leg during the fight. Canary pulls her out of the water, asking, “You are Oracle, right?” Oracle, although weak, gasps out, “Not Oracle . . . Barbara. Call me Barbara.” The half-page art shows a sitting Canary cradling the

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grateful Oracle, holding her beside the water, brushing her hair from her face as Oracle shares her name. CONCLUDING THOUGHTS Oracle’s introduction of herself as Barbara is pivotal in at least two ways. First, she chooses to remove all pretense and disguise and introduce herself with her real name. (Although it could be argued that apart from the computer/internet, Barbara cannot be Oracle, as Oracle only exists though the network established by Barbara; anyone logged into the system could be Oracle, albeit without Barbara’s genius-level intellect and photographic memory.59) Remember that for their entire relationship up to this point, Oracle has always known Canary’s real name, but her own name has been a closely guarded secret. Second, it is obvious that Canary knows she is, indeed, Oracle. This is confirmed by Oracle herself as she tries to convince Canary to leave, “You have to get away from here. It’s me they want.” The issue ends with Canary hiding Oracle, and facing Desmond and his remaining hired guns: “I’m the one you want, big guy. I’m Oracle.”60 This is the aforementioned “important event” that ends the issue (and the collected volume): it’s a well-designed cliffhanger. Canary has met Oracle, knows her real name, and yet still knows very little about her—it is possible she does not recognize her as Barbara Gordon. Canary may never get a chance to learn more, given the peril she will soon undertake. This shift in their relationship brings them closer to the standard mission control paradigm: most mission control sidekicks are known by the heroes, and they interact often. Canary takes the identity and mantle of Oracle, leaving Barbara to escape. They’ve switched places, and Canary has done this while Barbara was not in a position to argue: it is entirely outside of Barbara’s power to stop her. In this case, maybe it is simply an act of misdirection to put too much emphasis on Canary taking Oracle’s place to face Desmond. Nothing really changes in their dynamic, after all: Canary goes into peril, while Oracle remains safe and apart. This is their standard operating procedure. The score has been evened, somewhat, as the final barrier between their friendship and partnership has been broken down. In this sense, then, it is the natural culmination of the Birds of Prey: Oracle’s identity is the “will they or won’t they” that defines the series. Keeping Canary and Oracle apart is the defining tension, and is one of the defining challenges Oracle brings to the mission control paradigm. The work Oracle does as mission control is not easily duplicated, as that is the entire point of her role as Oracle: her skills are unmatchable unless one has a tandem of expert computer hackers,61 or a metahuman-advantage with computers.62 Canary, as the hero, cannot simply

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find a new sidekick to replace Oracle. Conversely, Canary is often replaced or joined by the likes of Catwoman, Huntress, or others. Even Power Girl has worked with Oracle in times past, sometimes to less-than-optimal results.63 This replacement or addition is especially palpable as Canary joins Oracle at a time where her own metahuman abilities are still compromised and unusable. It is most interesting, then, that Canary pulling Barbara out of the water marks a watershed moment for Birds of Prey: all of the carefully laid plans to keep Oracle’s identity a secret are gone, and she is a conventional mission control sidekick—at least, for a while. BIBLIOGRAPHY Barnett, David. “The Killing Joke at 30: What is the Legacy of Alan Moore’s Shocking Batman Comic?” The Guardian.com. Published March 14, 2018. https:​//​ www​.theguardian​.com​/books​/booksblog​/2018​/mar​/14​/the​-killing​-joke​-at​-30​-what​ -is​-the​-legacy​-of​-alan​-moore​-shocking​-batman​-comic. Brooker, Will. “Fandom and Authorship.” The Superhero Reader. Jackson: University Press of Mississippi. Charles Hatfield, Jeet Heer, and Kent Worcester, eds. 2013. (61–71). Highsmith, Doug. “The Long, Strange Trip of Barbara Gordon: Images of Librarians in Comic Books.” Reference Librarian 37, no. 78 (2003): 61–83. Cocca, Carolyn. “Re-booting Barbara Gordon: Oracle, Batgirl, and Feminist Disability Theories.” InterText: Interdisciplinary Comic Studies, 7, no. 4 (2014). ———. Superwomen: Gender, Power, and Representation. New York: Bloombsury, 2016. Dixon, Chuck. Birds of Prey Vol. 1. New York: DC Comics, 2015. ———. Birds of Prey Vol. 2. New York: DC Comics, 2016 ———. Birds of Prey Vol. 3. New York: DC Comics, 2016. ———. Birds of Prey #5. ———. Birds of Prey #12 ———. Birds of Prey #13 ———. Birds of Prey #14 ———. Birds of Prey #16 ———. Birds of Prey #17 ———. Birds of Prey #20 ———. Birds of Prey #21 ———. Birds of Prey: Revolution 1. ———. Birds of Prey: Wolves 1 ———. Black Canary / Oracle: Birds of Prey 1. Gorfinkel, Jordan B. Showcase ‘96 3: Birds of a Feather, New York: DC Comics, 1996. Grayson, Devin. Nightwing #115, DC Comics, 2006.

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Mecklenburg, Jessica, writer. Stranger Things, season 1, episode 3, “Holly, Jolly.” Directed by Shawn Levy. Aired July 15, 2016. https:​//​www​.netflix​.com​/watch​ /80077370. “Mission Control.” tvtropes.org. https:​//​tvtropes​.org​/pmwiki​/pmwiki​.php​/Main​/ MissionControl (accessed January 14, 2019). Moore, Alan, and Brian Bolland. Batman: The Killing Joke: The Deluxe Edition, New York: DC Comics, 2008. Nicholoson, Hope. The Spectacular Sisterhood of Superwomen: Awesome Female Characters from Comic Book History. Philadelphia: Quirk Books, 2017. Ostrander, John, and Kim Yale. Suicide Squad #23, DC Comics, 1989. ———. “Oracle: Year One,” The Batman Chronicles #5, DC Comics, 1996. Peterson, Scott. Showcase ‘94: Oracle, DC Comics, 1994. Puente, Maria. “Always Some Right by Superheroes’ Side.” USA Today, Last modified January 13, 2011: 2D. Academic Search Complete. Reynolds, Richard. Superheroes: A Modern Mythology. Jackson: University Press of Mississippi, 1992. Romagnoli, Alex, and Gian Pagnucci. Enter the Superheroes: American Values, Culture, and the Canon of Superhero Literature. Lanham: Scarecrow, 2013. Simone, Gail. “Women In Refrigerators.” Women in Refrigerators. https:​//​www​.lby3​ .com​/wir​/ (accessed January 14, 2020). Sirkin, Jessica. “Batgirl vs. Oracle: The Erasure of DC’s One Superhero With a Disability.” TheMarySue.com, Oct. 19, 2015. https:​//​www​.themarysue​.com​/batgirl​ -vs​-oracle​/ (accessed January 14, 2020). Spiderman Homecoming. Watts, Jon, dir. 2017; Walt Disney Home Entertainment, 2017. DVD. Stuller, Jennifer. “What is a Female Superhero?” What is a Superhero? Oxford University Press, Robin S. Rosenberg, and Peter Coogan, eds. 2013. Zimmerly, Stephen M. The Sidekick Comes of Age: How Young Adult Literature is Shifting the Sidekick Paradigm. Lanham: Lexington Books, 2019.

NOTES 1. Spiderman Homecoming, Jon Watts, dir. 2017 (Walt Disney Home Entertainment, 2017), DVD.; transcription my own. 2. “Mission Control,” tvtropes.com, tvtropes.org/pmwiki/pmwiki.php/Main/MissionControl (accessed January 14, 2020). 3. Notable inclusions: Luscious Fox in The Dark Knight (2008), Felicity Smoak in Arrow (2012–2020), Team Flash in Flash (2014–), Chloe O’Brian from 24 (2001– 2010, 2014), Luther and Benji from the Mission Impossible movies, Brandon from Galaxy Quest (1999), the elderly Bruce Wayne from Batman Beyond (1999–2001) and Jarvis from the Iron Man and Avengers movies; even Black Widow operates in this capacity during the beginning of Avengers: Endgame (2019). Virtually anyone on the other end of the telephone might qualify.

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4. Maria Puente, “Always Some Right by Superheroes’ Side,” USA Today, January 13, 2011, 2D, Academic Search Complete. 5. Stephen M. Zimmerly, The Sidekick Comes of Age (Lexington, 2019), 17–19. 6. Ibid., 21. 7. Ibid., 26–31. 8. Ibid., 31–36. 9. Hope Nicholoson, The Spectacular Sisterhood of Superwomen: Awesome Female Characters from Comic Book History, (Philadelphia: Quirk Books, 2017), 97. 10. Ibid.; Doug Highsmith, “The Long, Strange Trip of Barbara Gordon: Images of Librarians in Comic Books,” Reference Librarian, 37, no. 78, 2003, 79. 11. Alan Moore and Brian Bolland, Batman: The Killing Joke: The Deluxe Edition, (New York: DC Comics, 2008). 12. David Barnett, “The Killing Joke at 30: What is the Legacy of Alan Moore’s Shocking Batman Comic?” The Guardian.com, published March 14, 2018, www​ .theguardian​.com​/books​/booksblog​/2018​/mar​/14​/the​-killing​-joke​-at​-30​-what​-is​-the​ -legacy​-of​-alan​-moore​-shocking​-batman​-comic (accessed January 14, 2020). 13. Ibid.; Carolyn Cocca, Superwomen: Gender, Power, and Representation, (New York: Bloombsury, 2016), 65. 14. Qtd. in Barnett. 15. See Carolyn Cocca’s “Re-Booting Barbara Gordon: Orcale, Batgirl, and Feminist Disability Theories,” for an extensive collection of reactions (positive and negative) to Barbara’s transformation into Oracle. Cocca furthermore employs feminist disability theories to “discuss [Barbara’s] characterization, her resources, her relationships with others, and her body and sexuality” (para. 16). 16. John Ostrander and Kim Yale, “Oracle: Year One,” The Batman Chronicles #5, 1996, 13. 17. Chuck Dixon, Birds of Prey Volume 3, (DC Comics: 2016), np. 18. Alex Romagnoli and Gian Pagnucci, Enter the Superheroes: American Values, Culture, and the Canon of Superhero Literature, (Lanham: Scarecrow, 2013), 179. 19. Highsmith, 80. 20. Chuck Dixon, Birds of Prey #18. 21. John Ostrander, and Kim Yale, Suicide Squad #23, 1989. 22. Highsmith, 80. 23. Cocca, Superwomen, 64. 24. Gail Simone, Women In Refrigerators, www​.lby3​.com​/wir​/ (accessed January 14, 2020). 25. Cocca, Superheroines, 64. 26. Ibid., 65. 27. The highly-influential Bane/Batman/Azrael storyline can be found in the collected Batman: Knightfall volumes. 28. Cocca, Superheroines, 78. 29. Will Brooker, “Fandom and Authorship.” The Superhero Reader. Jackson: University Press of Mississippi. Charles Hatfield, Jeet Heer, and Kent Worcester, eds. 2013. (69).

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30. Jessica Sirkin, “Batgirl vs. Oracle: The Erasure of DC’s One Superhero With a Disability,” TheMarySue.com, published October 19, 2015, www​.themarysue​.com​/ batgirl​-vs​-oracle​/ (accessed January 14, 2020). 31. Richard Reynolds, Superheroes: A Modern Mythology, (Jackson: University Press of Mississippi, 1992), 48. 32. Ibid., 66. 33. I intentionally limit myself to a portion of Chuck Dixon’s run of Birds of Prey, ending before Gail Simone took up the writing responsibilities. This decision is problematic in and of itself, as Simone’s continued development of the Birds of Prey (Oracle included), is considerable. As my interest lies in Oracle’s role as the “one in the chair,” away from the physical action, studying her in Dixon’s initial series suffices. 34. Chuck Dixon, Black Canary / Oracle: Birds of Prey 1. 35. Ibid. 36. Ibid. 37. Ostrander and Yale, “Oracle: Year One,” 14–15; As part of their origin story for Oracle, Ostrander and Yale include a dream sequence where Barbara sees herself talking to the Oracle of Delphi—who is also Barbara—and takes the mask she sees in her dream as her new persona. 38. Both of these acts are pretty standard fare for someone like Luther Stickell in Mission Impossible (1996). 39. Scott Peterson, Showcase ‘94: Oracle, DC Comics, 1994, 13. 40. Jordan B. Gorfinkel, Showcase ‘96 3: Birds of a Feather, DC Comics, 1996. 41. Ibid. 42. Ibid. 43. Chuck Dixon, Birds of Prey: Revolution 1. 44. Ibid. 45. Ibid. 46. Chuck Dixon, Birds of Prey: Wolves 1, 38. 47. Ostrander and Yale, “Oracle: Year One,” 3–4; Dixon, Birds of Prey #6. 48. Devin Grayson, Nightwing #117, 2006. 49. Peterson, Showcase ‘94: Oracle, 10. 50. Dixon, Birds of Prey #19. 51. Dixon, Birds of Prey: Wolves 1, 38. 52. Jennifer Stuller, “What is a Female Superhero?” What is a Superhero? Oxford University Press, Robin S. Rosenberg & Peter Coogan, eds. 2013. (21). 53. Peterson, Showcase ‘94: Oracle, 19–22. 54. Dixon, Birds of Prey: Wolves 1, 35. 55. Chuck Dixon, Birds of Prey #20. 56. Chuck Dixon, Birds of Prey #16; interestingly, this issue also includes Barbara facing the Joker—who offers another potential, contradictory back-story for his insanity, as well as wonders out loud, “was it me who put you in that chair?” 57. Chuck Dixon, Birds of Prey #5. 58. Chuck Dixon, Birds of Prey #12–14. 59. Peterson, Showcase ‘94: Oracle, 13. 60. Chuck Dixon, Birds of Prey #21.

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61. Ibid. 62. Ostrander and Yale, “Oracle: Year One,” 9. 63. Chuck Dixon, Birds of Prey #17.

Chapter 8

Iris’s Impact and Inspiration The Importance of Iris West in The Flash Jennifer L. Toney

When I was nearly three years old, my parents brought home a baby brother. I was not very thrilled. And, if anyone would have asked me if I could see myself playing superheroes with him, I probably would have looked at them and cried—oh wait, I think I did! But after a few years, I discovered that I had a very important role as his older sister, and that he made my life even better. Had I not had a kid brother, I may not have even known who Batman was when I was a child. Or later, as a teenager, collected anything that had to do with Superman and never missed an episode of The CW’s Smallville. And now, decades later, as a seasoned elementary school educator, I may not have been able to connect with so many of my students by inviting them to share their passions for superheroes into our learning experiences in the classroom. The introduction of my younger brother—my sidekick—all those years ago, was the introduction of a supporting character in my life’s story. He really helped shape and enrich my entire life, and has greatly influenced who I am today as a successful educator and contributing citizen to society. Of course we have wonderful memories of good times and great adventures, but there were also times that I grew from reflecting on his words and actions. After reflecting on how important and helpful my brother has been in shaping my life, it makes me think of so many superheroes and how their lives are impacted by many supporting characters—in particular, Barry and a very influential character in his life—Iris West. Before diving deeper into Iris’s impact on The Flash throughout history, it is important to consider the history of women in comics at large. From the start, the role of women in 113

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comics has been controversial. Women, whether supporting or lead characters in comics, are subjected to gender stereotypes and were primarily portrayed in secondary roles, often classified as career girls. Iris fits this bill, as her first appearance in the comics, she is introduced as a reporter. In addition, women in comics have historically had a small effect on a male character’s decisions. However, examining Iris’s role in modern day portrayals suggests that her impact on The Flash breaks this mold. Perhaps this character development was inspired due to the introduction of Wonder Woman in the early 1940s and other postwar perspectives in which women took on a more important role as partners. Then, despite an accusation from the Senate that the comic industry was a “threat to standards of American decency”1 and the DC Comics creation of an in-house editorial policy that deterred the inclusion of women in stories,2 Iris West’s character survived, and over time her character has thrived in influencing Barry Allen as The Flash. Although completely human with no superpowers of her own, Iris West powerfully changes Barry’s life as a man and metahuman. Like the other top ten superhero girlfriends who defied limitations set on women of the comic industry throughout history as career women and/or love interests who become partners and vital companions to heroes across comic universes3 Iris West is selfless and honest from the day she is introduced in the 1956 comic—and her words and actions cause Barry to reflect on his own life. These reflections teach Barry lessons on how to be a better man and superhero. Through her completely human powers, Iris impacts and inspires Barry across all generations of The Flash’s story. BACKGROUND It is important to understand the backdrop for The Flash’s story. Over the years, there have been multiple scarlet speedsters. This chapter will focus on Barry Allen, a highly intelligent, young scientist who dedicates his life to his work. He is often absentminded when it comes to being on time, but he generally has the best intentions. It is not until an accident occurs that Barry gains speedster capabilities. In the first comic of the Silver Age in 1956, The Flash’s origin story is born.4 The opening panels are situated on EarthOne of the Multiverse, “an endless realm of parallel universes, each with its own Earth.”5 The Flash is introduced racing around his city. Barry is a young professional located in Central City working in the Central City Police Department (CCPD) forensics laboratory. And a storm occurs. A lightning bolt shatters the window, strikes him, and the nearby chemicals douse him. Throughout the comics from 1956 to the 2014 television series one fact is evident—Iris plays a major part in Barry’s life. Iris is introduced by writer,

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Robert Kanigher; penciller, Carmine Infantino; and inker, Joe Kubertin in the Silver Age Showcase #4 as a 1950s working woman for a date with Barry at a movie theater. It is important to note that comics often reflect the world in which they are written.6 The way Iris changes over time is a reflection of this as well. In the early comics, although a working woman, Iris fits into typical 1950s stereotypes. For instance, there was little diversity in comics of this era. Bastien notes that Iris, along with other members of the West family, are white with red freckles.7 In contrast, in 2014, Iris is portrayed by black actress Candace Patton. In addition, as time goes on, Iris is more outspoken; she takes risks and contributes to society through her writing. Then, as the millennium shifts, Iris is presented as an even more independent woman seeking to achieve her own goals. Although Iris’s physical image, as well as the depth of her contributions to The Flash’s story, are reflective of the time in which the tales were written, one thing is certain: Iris indeed plays a large part in Barry’s development as The Flash. Whether it’s 1956 or 2014, Iris’s honesty and selflessness toward Barry impacts and inspires who he is and who he is becoming as The Flash. IMPORTANCE OF THE SIDEKICK There are two scenes in which Iris is present and impacts Barry in this origin comic. Her honesty shines through from the very first scene in which she is introduced. It is the day following Barry’s accident in the CCPD lab when he was struck by lightning. He and Iris are scheduled to meet for a date. At this point, Barry has little experience and understanding of his powers. Iris impatiently waits for Barry to arrive after work and honestly exclaims, “Barry— you’re always late! Why are you so slow?”8 During the first scene, she sets the scene for Barry to further discover his powers. Because she is standing on the sidewalk in the path of a bullet, he tests his abilities to see extremely fast things moving at a snail’s pace to save her. As the bullet is moving toward Iris, Barry realizes something strange is happening to him. He may not quite realize that he has powers, but he does know that he needs to figure out what is happening. The illustrations show Barry’s thoughts, “It’s happening again! I’m seeing an impossible thing! A bullet heading straight for Iris!”9 Then he moves quickly to save her life just seconds before the bullet hits the building. Iris is unaware of Barry’s supersonic speed, but her presence allows him to have an experience with his new powers. Keeping with the style of the 1956 “damsel in distress” she comments with a stutter, “Barry—If y-you h-hadn’t accidentally stumbled against me j-just before that stray bullet struck—I would have been h-hit!”10 Barry reflects on this moment later and decides he can use it for the good of society.

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Holding a comic with Jay Garrick as the original Flash Barry comments, “There must be some way I can use this unique speed to help humanity!”11 The second scene in which Iris inspires Barry as he is developing into The Flash comes at the conclusion of the issue. Following the scene in which Barry saves Iris’s life, he fully realizes that he is now the fastest man on Earth. He decides he wants to use this power to help the world and creates his Flash suit. Barry then seeks to catch the criminal and is discovered by the media. Earlier in the day before Iris and Barry are shown walking together in the final panel of the comic, he is interviewed, and his hero name is revealed. The comic concludes as Iris and Barry are shown walking along the sidewalk and passing a newsboy making an announcement. Iris is honest and encourages Barry’s new alter ego. As she hears the newsboy say, “Read all about The Flash—the fastest man in the world!”12 She demonstrates her admiration for the new hero by exclaiming, “How exciting it would be to meet a man like that! But I guess it’s just an idle dream!”13 Had Iris—Barry’s love interest— not demonstrated her admiration for Flash in front of Barry, he may not have felt encouraged to continue on his newfound mission. Her comment offers him an opportunity to show off for her, albeit as The Flash and not his secret identity—scientist Barry Allen. Years later, Bates’ issue #350 shows an example of Iris’s selflessness and the impact it has on The Flash. At the start of the issue, Flash had escaped prison. He had been placed in jail because he killed a villain: The Reverse-Flash. Enter Nathan Newbury, A.K.A. Iris Allen from the future. Iris leaves her home in the future, disguises herself as a juror for Flash’s trial, and sticks around to help him. She promises to stay and find answers that will clear Flash’s name before she returns to the future. Shortly after she makes this promise, Reverse-Flash demolishes the courthouse. Flash is blamed for the destruction, and is thought to have abducted the juror Nathan Newbury (future Iris). Still disguised as Nathan, Iris shares the truth and inspires Flashes next actions, “Reverse-Flash is even more devious since he ‘came back’ from the dead! . . . He knew all along your speed would save us both from perishing in the courthouse. . . . Just as he knew passersby on the scene would mistakenly blame you for the destruction. And even worse—some of that crowd probably recognized me and will assume you abducted me against my will.”14 Flash realizes Iris is right. He decides that they should both go to his parents’ house. Following a quick dinner together, Barry and Nathan (future Iris) explain that they need to leave. They are on a mission to clear The Flash’s name, but they will have to go to the future to complete it. Iris’ selflessness shines again as she answers Barry’s mom, Nora, who says, “Take good care of him, Mr. Newbury.” To that Nathan replies, “I will guard him with my very life, if necessary.”15 They travel to the future and discover the villain Abrakadabra has

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been behind the entire plot. Abra captures them which offers Iris an opportunity to have a heart-to-heart conversation with Barry. She tells him, “As I told you, although I’m currently occupying the body of the 20th century accountant Nathan Newbury—my true essence is in fact that of another person from another era—the 30th century to be exact.”16 Flash has suspected that Nathan is really Iris and the realization that he was correct influences his actions. He responds, “the truth has only made me more determined than ever to find a way to get us both out of this fix.”17 Flash’s determination inspired by Iris’s openness proves successful. After they are freed, they flee to the future where they are reunited with Iris’s parents. In the late 90s, Iris crafts a book about Barry’s life, “The Life Story of the Flash”18 in which she shares details about his childhood, the night they were engaged, and how he became The Flash. She selflessly devotes time to writing his life story in her book and celebrating his victories over the many villains that he defeated over the years. Her actions in this text offer examples of how her honesty and selflessness made Barry into a better man and superhero throughout their life together. The story begins as Iris, although a dedicated professional in the field of photojournalism, takes her nephew, Wally, under her wing for the summer. Ten-year-old Wally’s dream would come true were he to have an opportunity to meet Flash. In her selflessness, Iris attempts to find a way to make this happen. She asks Barry to pull some strings and introduce Wally to his close friend. Iris’s determination to make Wally’s dream come true has the potential for Barry to realize how important he is as The Flash in the lives of so many citizens. Later, Iris confronts Barry about how angry she was that he did not keep a promise that he made to tell her. Previously, he vowed that he would tell her that he is The Flash on their wedding day. She says, “You talk in your sleep! I’ve known all this time! You swore you’d tell me on our wedding day and that was how you did it! And I’ve known and I feel stupid and helpless, and distance, and lied to, and—.”19 This openness forces Barry to consider the pain he caused Iris. He reflects on his mistake, and he swears to include Iris from that moment on by being open and honest with her about The Flash’s endeavors. After the open and honest conversation between Barry and Iris about sharing secrets with each other, their life together progresses. Then, Iris shares the memory of the time they considered starting a family. It was during a superhero costume party when she suggested, “It’s getting late. Shouldn’t we call the sitter?” Flash replies, “What sitter? We don’t have kids.”

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Iris continues, “Yet.” At this moment, Barry realizes he has an opportunity to contribute to the world as a father. He continues, “‘Yet.’ Something you’re ready to start talking about Mrs. Allen?” Iris openly continues, “Whenever you’re ready, Mr. Allen. Aren’t we a little overdue . . . ?”

Barry smiles and responds, “You know . . . maybe we are.”20 Had this conversation not happened, Barry’s life may have taken a completely different direction. A direction in which he was more self absorbed than he would be were they not considering starting a family. Moreover, this conversation occurred just moments before a major event when Professor Zoom changes their lives forever. While Barry and Iris are talking, Professor Zoom—a major rival of The Flash—shows up from the future. He spies on the Allens and waits until Barry is not with Iris. Her honesty puts her in danger as she responds to Zoom’s request to leave Barry and love him. She says, “No one will ever love you, you repugnant worm. Not ever. You’re a psychopath. I’d rather die than breathe the stench of a man so clearly Barry’s inferior.”21 With that, as Barry is returning to his wife, Zoom hypnotizes Iris then kills her. Barry runs toward her, holds her body closely in his arms and is heartbroken. Even in her death, Iris impacts Barry. From that moment, he has a new mission—revenge on Zoom. This mission will consume every fiber of Barry’s being. He will even miss his second wedding to another woman because Zoom returns. The Flash successfully defeats Zoom by killing him, but this causes him to end up on trial. Through Iris’s selflessness, The Flash gains another chance. When she died, her parents from the future were able to save her. As presented in 1985, Reincarnated Iris disguises herself as a juror for Flash’s trial. She helps him defeat another villain and because of her sacrifice, The Flash is set free. Barry and Iris are then reunited and can continue their journey through life together. They travel to the thirtieth century and rebuild their lives together. Until one day disaster strikes. Perhaps through Iris’ example to leave the future and return to help Barry through his legal battle, Barry is inspired to demonstrate selflessness, no matter how much of a risk it will be. Over a decade later, Geoff Johns and Ethan Van Sciver brought The Flash back to life in The Flash Rebirth Series and Iris was right by his side. Although a reflection of women in the new millennium—more independent and somewhat guarded in conversation about his return, she was still honest and selfless. These traits impacted Flash once more as he tried to find his

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place in a much faster paced, technologically advancing world. This is evident across the issues #1 through #3. For example, when Barry goes to The Flash museum to see what he has missed, he is invited to go out on the town. He turns the invitation down and responds, “I have Iris.”22 Meanwhile, life in 2009 is moving at such a fast pace, Barry and Iris have not even had much time to be together since his return. In issue #2, Barry’s life flashes before him and he reflects on the first time Iris approached him for an interview. Iris, digging for the truth, questions Barry about a personal case—his father’s murder case. Barry appears sad as Iris apologizes and insists on coffee or dinner. This conversation pushes Barry to review the case evidence. Had Iris not approached him with questions, he may not have revisited the past. He also would not have met her for dinner that night, albeit showing up late as he typically did—no matter what year it is. Later in issue #2, Barry is still trying to find his place in the advanced world. Iris has an honest conversation with him that helps him reconsider why he has returned. As he looks longingly toward his police badge and bow tie, she explains, “I would’ve given anything to get you back. Don’t forget your return is a good thing, Barry. And don’t forget how happy everyone is that you are here.”23 Barry has another flashback and continues to feel down. Iris continues, “Sometimes life isn’t about need, Barry. It’s about want.”24 In issue #3, Barry is trapped as the Black Flash. Iris selflessly shows up to the scene despite unknown danger. Coming face to face with Barry, she has another honest conversation with him. She says, “You have to stop . . . you lived for running across the roads of America, racing into parallel worlds, and sprinting from the past to the future, solving crimes and stopping the bad guys. But you always took a breath. You always slowed down long enough to spend time with your friends and family. With me.”25 With that, Barry has another flashback to their first dinner date. His reminiscing gives him the strength to break out of the Black Flash Speed Force trap. He intends to give up his life again to save the others. He is now the selfless one. As Barry runs he speaks of Iris and has repeated flashbacks of their first memories together, “As long as I remember Iris I will be alright.”26 In the CW television series, the origin tale in the initial episode offers some final examples of Iris’s honesty and selflessness, and how she impacts and inspires the scarlet speedster. To begin, there is a flashback that occurs showing Barry as a child running from bullies, yet not being fast enough. Then he witnesses a yellow speedster murder his mother. The backstory continues as his father is taken away to prison and is blamed for the killing. This explains how Barry actually comes to live with the Wests—Iris and her father, Joe. In this version, Barry is close with Iris from the time he is young—they grow up as brother and sister and become close friends. Joe West takes Barry under his wing, and raises both Barry and Iris as a single parent.

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Actress Candice Patton portrays Iris West in the 2014 CW origin story.27 There are several different times in this initial television episode in which Iris is present and impacting The Flash. Shortly after Barry offers some of his backstory at the start of the episode, he is working in his forensics laboratory at the CCPD. Iris arrives walking confidently into Barry’s office at the police station. A twenty-first century zeitgeist, She is wearing jeans and a black-cropped biker style jacket with a hip-length fuchsia shirt. She has rich brown skin, smooth, black, shoulder-length hair, dark brown eyes, and soft rose-colored lips. Because Iris’s father is a police detective she is free to stroll into the CCPD and Barry’s lab at any time. This afternoon on which Iris arrives to accompany Barry to see the new particle accelerator is also hours after the CCPD are called to a murder scene. As the forensic scientist, Barry’s workload suddenly increases as he is needed to help the detectives find the killer. Just when Barry considers the new case work replacing the opportunity to hear from one of his scientific heroes, CEO of S.T.A.R. Labs Harrison Wells, and attending the unveiling of the particle accelerator event, Iris arrives, is open and honest with her dad, and convinces her father to let Barry leave. As Joe’s daughter, she holds the power that children often have over their parents—the ability to get something they want. This scene also offers a glimpse into Iris’s view of Barry as a brother and best friend. Oftentimes, siblings and friends go out on a limb to help each other because they care for them. Not only is she honest with her father, she is also selfless in that she has rearranged her schedule and even cancelled a date so she could accompany Barry. Through her conversation with Barry, Iris clearly shows that she does not understand the science behind the particle accelerator, or Barry’s nerdy infatuation with it. But she is completely willing to support him. As Iris and Barry are standing in the crowd at S.T.A.R. Labs, Iris is carelessly holding her very important computer bag. In talking with Barry she explains that she has been working on her dissertation, and all of her work is saved on her computer. While they turn their attention to Harrison Wells, a punk pushes through the crowd with his eye on Iris’s bag. He grabs it and runs, turning Iris from a supportive sister/best friend figure to a “damsel in distress.” She does not know what to do, and is devastated that her hard work has just been stolen. It is very kind of Iris to accompany Barry to something in which she has little to no interest, especially because she is very busy with her job at a local coffee shop, CC Jitters, and the lengthy dissertation that she is writing for school. Unfortunately, “nice guys finish last” sometimes and that is exactly what happened to Iris when her computer bag was torn from her grasp while they were at the event. This is helpful though, because Barry tries to chase the thief and “save the day.” But despite his best efforts, Barry was not fast

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enough. In this example, Iris’s bag being stolen teaches Barry that he still comes up short when it comes to winning Iris’s heart and being her hero. That very night, the particle accelerator malfunctions and causes a blast. Barry is struck by lightning, and is rushed to the hospital after he is shocked by the explosion. The minute Iris finds out, she rushes to the hospital. As the hospital employees prohibit Iris from following Barry’s stretcher into a restricted area, she shouts hysterically as tears stream down her face, “I’m family!”3 When Barry has nobody to sit by his side, Iris is selflessly there. Despite her busy schedule, she spends the following nine months visiting Barry. She sits by his side hoping he will awaken from a coma eagerly waiting and hoping he will come back to her. Although Iris does not see Barry as her “knight in shining armor,” she certainly views him as family. With his biological father being absent because he is in prison, Iris and Joe are Barry’s only family. Her presence throughout Barry’s nine-month coma offers a glimpse into the depth of Iris’s feelings for her best friend. In fact, as soon as Barry learns that she was there for him throughout all of those months, Iris is the first person Barry goes to find when he awakens. He goes to see Iris at CC Jitters. Before the night of the accident, a waitress dropping a tray full of mugs and plates would not have impacted Barry from across the café. However, in the split second that the items fall from the tray, Barry sees them moving in slow motion before they crash to the ground. Were he not there to be with Iris, he may not have realized his new abilities. She is essential as Barry comes to realize he has powers. As Iris embraces Barry after he was gone for so long, she is overjoyed that he is alive. If she did not selflessly sit by his side and matter to him so much, he may not have gone to see her. As a result, he may not have experienced the ability to see things moving slowly that are actually moving quickly. Barry continues to learn about his new powers, then returns to the coffee shop later in the episode to see Iris. When he sees her kissing her new boyfriend, Eddie Thon, his face drops. Seeing this event breaks Barry’s heart, but in a way it is helpful. Iris approaches Barry with complete honesty. Barry hears Iris out as they take a walk after her shift. During this time, Iris has a heart-to-heart conversation with Barry as she confides in him about dating her father’s partner, against Joe’s will. Perhaps the topic of conversation is a distraction, or maybe it is just Barry being a good listener. Either way, as Iris talks with Barry a high-speed car chase is happening nearby. They happen to be in the wrong place at the wrong time, and Barry needs to call upon his new speed to save Iris’s life. Even though Barry has the power to save Iris’s life, he needs her help when Joe arrives. Joe is angry at both of them because they could have been injured or killed. Joe accuses Barry of being irrational about Barry’s mother’s murder and about the abilities of the other metahuman. Iris selflessly stands up for

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Barry to try to soften Joe’s mood. Maybe Iris offers her aid because Barry just rescued her from death, or more likely it is something Iris has always done since Barry moved into their home as a child. Perhaps Barry’s hope in a romantic relationship was rekindled when he returned. However, it was likely shattered when he watched Iris kiss Eddie. Iris’s actions in this scene are impactful on Barry as The Flash. Barry likely realizes that he needs to focus on his new abilities and how he will use them to help others rather than pursuing a romance with his long-time best friend. Were Iris not in a relationship with Eddie, Barry’s decisions may have been altered and the plot of the entire tale changed. For example, Iris would not have been walking with Barry and explaining her relationship with Eddie to him. If this conversation and scene were not occurring, Barry would not have had the opportunity to push Iris out of the line of the high-speed car chase and save her life. Not only does Iris provide Barry a chance to use his powers in saving her life, after he makes sure she is safe he continues to use his powers. He chases the car that got away and discovers more information that will help the CCPD solve the case from the murder scene in the beginning of the episode. All of these events inform Barry that there are more metahumans that were given powers on the night that he was struck and gained his powers too. Moreover, Barry tries to explain his discovery to an angry Joe West when he arrives. Iris is there to support him. Were she not with Barry, he would have had to face Joe alone. Barry comes across as more timid than the confident Iris, so her support was helpful. Iris does not disbelieve Barry like Joe does, which offers Barry an honest and supportive ally as he works through the events of his life. The events of this initial episode of the season foreshadow Iris’s role as a leader of Team Flash later in the season, and offer evidence to the claim that “without her, there would be no Flash.”28 CONCLUDING THOUGHTS By considering familiar, well-liked heroes’ stories as part of the conversations of our own lives, we can relate their life stories to our own. These stories might teach us something new about the supporting characters in our lives who have an incredibly important impact on us. Until I reflected on many of the experiences I had with my brother, I was unable to realize how helpful he has been in shaping my life. At times, it can be difficult to notice how a sidekick is so essential to the success and life of a superhero. Through examining the many times that Iris was present in Barry’s life across the decades, it is much easier to realize how important supporting characters can be and how

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she is so vital to The Flash’s success. Specifically, her honesty and selflessness truly changed Barry’s life. In all good stories, there are supporting characters in the tale for a specific reason. From 1956 to present day, Iris plays a significant part in Barry’s life as an honest and selfless supporting character. She is incredibly important in his development as a man and as a metahuman who is willing to use his powers to help humanity. No matter what year it is, Barry’s relationship with Iris impacts his life as a superhero. At times their relationship appears simple, and at times it is layered with complexities. These complications make for a more interesting story and offer opportunities for their relationship to grow throughout time. The complex nature of Barry’s relationship with Iris is one of the driving forces behind his success at harnessing his powers. And, even though life is more complicated for The Flash of the current millennium, he has Iris to lean upon as he learns how to use his powers for good. Today’s Iris offers a richness and depth to the story that is different from all other versions of her character over the course of time. Regardless of which example of Iris is being considered, her honesty and selflessness are crucial to Barry’s success as The Flash. And, in the case of Barry Allen as The Flash and Iris—the ordinary human by his side—there is a unique opportunity for us to make connections with them and potentially begin to appreciate the value of our relationships with our own versions of sidekicks in real life. By reflecting upon Iris’s honesty and selflessness and her impact and inspiration on The Flash, we are welcoming the opportunity for all of us ordinary humans to learn from both Barry and Iris and their life experiences. In doing so, we have the potential to make extraordinary contributions to our world each and every day. NOTES 1. “A Tarnished Silver Age,” July 10, 2021. www​.pressreader​.com​/usa​/richmond​ -times​-dispatch​-weekend​/20210710​/282140704378066​/textview. 2. Ibid. 3. Stephanie Harper, “From Pepper Potts To Jane Foster: The 10 Coolest Superhero Girlfriends,” The Things, December 8, 2020, www​.thethings​.com​/pepper​-potts​-jane​ -foster​-the​-coolest​-superhero​-girlfriends​/. 4. Robert Kanigher, John Broome, Carmine Infantino, and Joe Kubert, “Showcase #4” in The Flash A Celebration of 75 Years, ed. Gardner Fox, Geoff Johns, and Carmine Infantino. (New York: DC Comics, 2015) 64–76. 5. Tim Beedle, “Unlocking the History of the Multiverse,” DC Comics, January 14, 2020.

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6. George Gene Gustines, “The Superhero as Society’s Mirror, From World War II to Iraq,” New York Times, July 14, 2007, www​.nytimes​.com​/2007​/07​/14​/arts​/design​ /14comi​.html. 7. Angelica Jade Bastien, “Iris Changed a Lot from ‘Flash’ Page To Screen,” Bustle, December 9, 2014. www​.bustle​.com​/articles​/52801​-dc​-comics​-iris​-west​-is​ -different​-from​-the​-flash​-version​-but​-lets​-hope​-her​-love​-life. 8. Cary Bates, The Flash Vol. 1 #350, (New York: DC Comics, 1985). 9. Ibid. 10. Ibid. 11. Ibid. 12. Ibid. 13. Ibid. 14. Cary Bates, The Flash Vol. 1 #350, (New York: DC Comics, 1985). 15. Ibid. 16. Ibid. 17. Ibid. 18. Mark Waid and Brian Augustyn, The Life Story of The Flash By Iris West Allen, (New York: DC Comics, 1997), 5–98. 19. Ibid. 20. Ibid. 21. Ibid. 22. Geoff Johns, The Flash Rebirth First Issue. (New York: DC Comics, 2009). 23. Geoff Johns, The Flash Rebirth Second Issue. (New York: DC Comics, 2009). 24. Ibid. 25. Geoff Johns, The Flash Rebirth Third Issue. (New York: DC Comics, 2009). 26. Ibid. 27. Greg Berlanti, Geoff Johns, and Andrew Kriesberg, The Flash. The CW Network, 2014–Present. 28. Derek Faraci, “The Flash’s Iris West: 5 Things The Show Changed From The Comics (& 5 They Kept The Same),” CRB.com, September 1, 2020, www​.cbr​.com​/ arrowverse​-flash​-iris​-west​-dc​-comics​-comparison​/.

Chapter 9

Hermione as the Hero Using Empathy and Connection to Save the Wizarding Community and Educate the Wizard’s Ego Melissa Caliendo and Kerry Carley Rizzuto

When viewed through the lens of the superhero story, there is little doubt that as the titular character, Harry Potter is the superhero of J. K. Rowling’s universe. Born into difficult circumstances and without any training or guidance of his powers as a young boy, Harry must discover his powers through a series of haphazard events, and then train at the prominent Hogwarts School of Witchcraft and Wizardry in order to rise as “The Boy Who Lived” to defeat Voldemort—an antagonistic dark wizard threatening the entire wizarding community and greater world. As just an infant, Harry survives an attack from the Dark Lord Voldemort that killed his parents, and thus, as he grows up on Privet Drive away from the eyes of the wizarding community, his name is spoken and revered in hushed whispers. When Harry is finally made aware of his wizarding identity and starts to attend school for proper training of his superpowers, Ron Weasley, a young wizard from humble beginnings but with strong ties to the wizarding community, becomes Harry’s sidekick, whom in some instances, serves as the quintessential fool and comic relief in all of Harry’s precarious adventures. But it is Hermione, their nerdy, female friend, who is the true hero of this story. Hermione was born to Muggles (i.e., individuals that lack magical ability or were born without magical blood) family, but she becomes the top student in her class at Hogwarts. Hermione begins as a character who is forever terrified, but her evolution into a trusted confidant and hero in her own right is the true strength of this team. Hermione begins to gain confidence in school 125

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as she works hard to please her teachers and follow rules. She values grades and genuinely loves to learn. Hermione Granger is the most important asset that Harry Potter has throughout his entire journey. She assumes the role of teacher and protector. Hermione’s most valuable traits include her extraordinary intellect and ingenuity. She is levelheaded, book-smart, and always very logical. Throughout the series, Hermione uses the abilities of a librarian and teacher to gather the information necessary to defeat Voldemort. Harry and Ron would not have been able to accomplish this incredible feat without Hermione by their side. Hermione quickly realizes herself to become the most compulsive and reasonable character in the book. She prioritizes academic details, is very self-confident, and gets along well with other confident people. And while she may not have the heroic name recognition of Harry or the long-standing familial ties to the wizarding community like Ron, it is her upbringing as a young woman in the Muggle (non-magical) world that awards her her greatest strength and hero status. For without her, these young boys would have allowed their own egos to get in the way and destroy the wizarding world. BACKGROUND At the start of this journey, as the students board the Hogwarts express for their first trip in Harry Potter and the Sorcerer’s Stone,1 Harry is first introduced to Ron Weasley, a frazzled young wizard in a homemade sweater, as they share a train car. In their initial moments of meeting, Harry is attempting to project his own masculinity—which is masking his own insecurity due to his lack of wizarding knowledge—as he freely speaks Voldemort’s name (where he lacks the emotional and intellectual understanding to be cognizant of the history and the consequential discomfort this utterance will cause, despite many warnings on this very subject) and buys a load of candy from the cart for the two of them to share (where he lacks the emotional and social understanding to consider the economic privilege he possesses with a peer who is clearly not of the same socioeconomic status). Readers forgive these social indiscretions because of his boyish charm, and of course, he is granted this forgiveness from Ron because of his celebrity, which causes his own ego to start to grow. Ron is already claiming a position next to Harry as a manifestation of the life Harry could have had growing up in the magical world, had his parents not died. Harry is in turn drawn to Ron, as he yearns for this sense of family and belonging. Both boys are very comfortable assuming a certain social power in the confines of this train car, as their gendered performance in the world has certainly prepared them for taking social power (that has

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not been earned) and wielding it confidently (even if one has no idea what he is doing). This misplaced confidence is immediately apparent when Ron tries to cast a spell on his rat, and it is in this moment that Rowling brings Hermione into their shared space. Hermione’s introduction to the narrative positions her as a quirky, nerdy addition to the trio, a whirlwind of fast talking with a “bossy sort of voice, lots of bushy brown hair, and rather large front teeth,”2 which does not position her as an object of desire for the male duo. In this mousy, distanced introduction, the boys, perhaps due to their masculine entitlement, are dismissive of her inquiries about Neville’s missing toad, Ron replying with a preoccupied and huffy, “We’ve already told him we haven’t seen it.”3 SIGNIFICANCE OF HERMIONE And yet Hermione, for the first but certainly not the last time, is able to surprise the boys by quickly moving beyond the doting, helpful female stereotype. She outlines very quickly both her own personal history, an anomaly in a family of Muggles, and her intellectual power: “I’ve tried a few simple spells just for practice and it’s all worked for me. Nobody in my family’s magic at all, it was ever such a surprise when I got my letter, but I was ever so pleased, of course, I mean, it’s the very best school of witchcraft there is, I’ve heard—I learned all of our course books by heart, of course, I just hope it will be enough.”4 And she says all of this prior to even her name! From this, a few things become apparent: 1.  Hermione has a strong foundation in logical thought and is willing to work very hard to learn and understand every facet of a situation, which gives her intellectual confidence. Hermione understands, much earlier on than Harry, that it is this work ethic that is the core of success, not an identity built off of a name. 2.  Her confidence in herself and her abilities is tempered by self-awareness and reflection, which allows her to critically consider herself and continue to grow in significant ways. 3.  Her intellect, self-awareness, and her female gendered identity lead to a social-emotional awareness of others, which grants her additional “power” in her relationships. This ability to disrupt the comfort of the boys is seen in their shared stunned faces after her speech, in Harry feeling dazed after listening to her. And when she leaves just as quickly as she came in to get back to her mission of finding Neville’s toad (but not before mothering the boys by reminding

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them to change into their robes), Ron says, “Whatever House I’m in, I hope she’s not in it,”5 clearly threatened and bruised by her intrusion in their space. But remarkably, her briefest of flashes in their train car is actually what brings Harry and Ron to a meaningful conversation about families and histories, where both boys are able to speak freely and humbly about their hopes, fears, and questions for the coming year without the trappings of their previous masculine performance to posture confidence. It is this incredibly important shift that brings Harry and Ron beyond an acquaintanceship into a true friendship, and they unknowingly have Hermione to thank for that. Hermione is put in the position to act as Harry and Ron’s helpers, because their egos create a veneer to soften the experience of Hermione’s power; consequently, it is as if they are incapable of the reality of the group dynamic due to their male egos and their immaturity. Harry certainly has a motherly need to be cared for by Hermione and at the same time, Hermione takes this role for granted. She will come to always protect Harry and Ron instinctively—as she believes that protecting the boys is what she should do, as a female must do, and because they are male, they are destined to be immature and in need of her intervention. Because Hermione does not have the deep-rooted ego of her male, wizard-born peers, she is not fooled into any false sense of confidence; instead, her tenuous position in the wizarding community propels her into deep research, reading, and studying—all actions she has had much practice with as a Muggle, particularly as a child of dentists who value schooling and research. It is this attention to detail, to learning about the world beyond herself and her own experiences (a task her male housemates would never dream of embarking on without the threat of failing their exams, and even then, they need her push to study), that saves the hides of the young wizards throughout the series as they battle unknown and dangerous creatures and environments. Left to their own devices, the boys struggle to buckle down and find information without Hermione’s nudging away from distractions; when she leaves them at Christmas break during their first year with the mission to find a way into the Restricted Section of the library for information about Nicolas Flamel, it is not long before “Ron and Harry were having too good [a] time to think much about Flamel. They had the dormitory to themselves . . . so they were able to get the good armchairs by the fire,”6 indulging their own self-importance in a comical scene mimicking social power. When they do use the newly gifted Cloak of Invisibility to adventure around the castle, the research they need to do is ignored for visits to the Mirror of Erised, which Harry only noticed because of his “wanting to look at himself,”7 while Ron is enamored with the image of himself as Head Boy, winner of both the House and Quidditch Cups.8 Precious time to find out valuable information is squandered by these indulgent excursions that serve to feed their own egos. Both

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boys are given the time, space, and agency to look into themselves and their deepest desires, but Hermione is never given such agency in the text, perhaps in part because she recognizes that there are far more pressing matters than the fulfillment of her own personal wishes. So despite the logistics that she was not on campus at the time of the discovery, she does not go searching for the Mirror of Erised even upon her return, because she recognizes the responsibility toward others before herself. Ultimately, this reveals that it is she is the true hero, not the self-indulgent boys. And so, of course, in her absence, no truths were uncovered, no great knowledge gained. When she returns to the dorm and a trading card of Albus Dumbledore triggers her memory of where they had seen Flamel’s name before, it is a book she read from the library as some light reading that reveals to the crew the significance of Flamel’s alchemy studies with the conclusion that the three-headed dog must be guarding the Sorcerer’s Stone. And so, this is the first time of many that while the boys were off playing Quidditch and goofing around, Hermione’s dedication to her reading and studies provides the group with valuable information. When the young wizards are put to their first real test as a trio to get past Fluffy and protect the Sorcerer’s Stone, Hermione prepared by “skimming through all her notes, hoping to come across one of the enchantments they were about to try to break”9 while Harry and Ron lounged around the common room in silence without offering to help. And when they are finally about to leave and Neville’s intrusion threatens to destroy their whole plot, Harry and Ron freeze, unable to stand up to their friend; Harry turns to Hermione and desperately begs her to “Do something,”10 forcing her to put Neville into a full Body-Bind, putting aside her own feelings for her friend and taking swift action for the greater good, an act which paralyzed the boys. In these tense moments, Harry repeatedly shows the cracks in his own facade, breaking under pressure, freezing up—and he continuously turns to Hermione to be stronger and more adept than he holds himself accountable for. We see a similar inaction from the boys as the crew works to make their way past Fluffy; once Harry and Ron make it through the trapdoor, they find themselves sitting in a plant and they just . . . sit there. Once Hermione lands on the plant, she immediately struggles toward a wall while Harry and Ron become further ensnared in the long creepers that have been tendriling themselves around their ankles without their notice. As Hermione recognizes the Devil’s Snare plant, Ron snarls “Oh, I’m so glad we know what it’s called, that’s a great help”11 with great sarcasm, no wherewithal that perhaps if Hermione knows the name of the plant, she also knows how to beat it. Instead, his immediate reaction to her knowledge is sarcasm, perhaps to mask his own fear, which would reveal a weakness. Nevertheless, it is Hermione again who needs to take action to save the boys. It is she who remembers that Devil’s Snare

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likes it damp and dark, and when Harry suggests she light a fire, her Muggle upbringing shines through as she responds that there is “no wood” with which to do this. Ron is able to remind her that she is a witch (albeit, through bellowing at her), and she uses her wand to create a fire (lucky she knew this spell through her thorough practice) and prevents the boys from dying. Once they are free, Harry is able to acknowledge his thanks to Hermione for saving his life only through a flippant, “Lucky you pay attention in Herbology,” while Ron is unable to give her any credit, instead turning the credit to Harry when he says, “And lucky Harry doesn’t lose his head in a crisis.”12 While there is no accountability from the young wizards for their own behavior that trapped them in such a mess, Hermione is held to a much higher standard of perfection. The machismo of the young male characters is celebrated through humor, sarcasm, and wit, while the knowledge of their female counterpart is downplayed, despite it literally saving their lives, again. And even though she knows that she will not receive this recognition, Hermione still continues to save the day; her female gender identity has shaped her into a different kind of hero, one who is not fueled by her own inflated ego, who does not need her name in lights to do the right thing and help others. As a witch at Hogwarts, Hermione works hard to learn as much as she can as quickly as she can, often motivated by feeling the need to prove herself as a Muggle-born witch. Nonetheless, this is unknowingly one of her greatest assets, as her approach to fitting in is greatly informed by her Muggle parents’ values in education in her upbringing prior to her attendance at Hogwarts. Hermione’s commitment to knowledge and logic because of her Muggle upbringing proves crucial yet again in their continued journey toward the Sorcerer’s Stone. When Harry and Hermione are faced with Snape’s protection on the Sorcerer’s Stone, Hermione, smiling, realizes that the solution to the task outlined on the roll of paper is not magical, but logical: “This isn’t magic—it’s logic—a puzzle. A lot of the greatest wizards haven’t got an ounce of logic, they’d be stuck here forever.”13 Harry does not seem comforted by this knowledge, because despite his own upbringing in the Muggle world, his prominence in the wizarding community and the sense of importance that it gives him leads him to quickly shed this past, going all-in on being a wizard. Hermione, however, will always keep herself grounded in the Muggle world because of her deep emotional connection to her family, and thus she is able to tap into her own sense of logic and solve the puzzle with ease, allowing Harry to pass on to the next part of the challenge; without Hermione’s intervention, Harry may have otherwise remained stumped and Voldemort would have had the time inside of Professor Quirrell’s body to grow stronger and regain his strength. With the reality of her friend facing off against Voldemort taking tangible form, Hermione voices her concern about Harry finishing this task on his

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own, to which he responds, “I was lucky one, wasn’t I? . . . I might get lucky again.” And when Hermione tells Harry he is a great wizard, he responds, embarrassed, with “I’m not as good as you.”14 In this moment, we see just how impactful Hermione’s presence is on Harry, as he is humbled by her success and confidence. Outside of (or beneath) the heteronormative walls of the school, out of reach of Ron’s ego-pumping, Harry is able to check his own ego and show genuine appreciation for Hermione and the unique set of skills she brings to their trio, and not just in how they reflect on his own successes but giving her credit in her own right. Of course, Hermione struggles to accept this acknowledgment, but the fact that Harry recognizes the role that Hermione has played and the skill she possesses as an independent entity begins to establish a powerful, heroic role for her in the group. Ego vs. Empathy: Hermione Stops the Male Ego from Destroying the World As the series continues and Voldemort’s threat/rise to power becomes more real, the blood-line extremists of the wizarding world fight to ostracize all Muggle-borns, including Hermione. But before an all-out war over the purity of blood breaks out, Hermione first finds herself pushed out and isolated not only by the Malfoys of the world, but also by her friends, as her identity as a young woman undergoing puberty becomes a tangible threat in Harry Potter and the Goblet of Fire.15 The fragility of the male ego of her friends is made all too apparent in the events leading up to and including the titular competition of the text. Prior to the participants being officially chosen, the crew catches wind that Cedric Diggory may be interested in entering, and Ron is quick to call him an idiot because “he beat Gryffindor at Quidditch.”16 Despite the fact that the Goblet of Fire is a competition between neighboring schools, Ron struggles to rally behind the potential competitor from his school because of a rivalry around sports performance. And then, when Hermione is quick to point out his positive attributes of being a good student and a prefect within the school, Ron, hurt by this positive attention another male figure is receiving, scathingly responds, “You only like him because he’s handsome.”17 Immediately, Ron diminishes Hermione’s praise of another male figure and reduces him to only his physical qualities, dismissing the very real behavioral and personality advantages that Cedric has worked toward. It is too much for Ron to consider that he may need to put forth effort to be the kind of person who warrants female attention, so instead of reflecting on himself and valuing the opinion of his dear friend, his own insecurity leads him to lash out and turn this into a criticism of Hermione—that she must be superficial, only into a person for his looks. And when she responds indignantly (as she should to such a reduction of her character and ability to

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assess the worth of others), Ron does not apologize, but sarcastically reminds her of a previous crush that she had because a man was handsome, as though she could not assess attraction and substance simultaneously. This exchange is the start of the chasm created between Hermione and her male counterparts as her own sexual awakening threatens the power dynamic of the group and the boys’ fragile egos. This divide is only further amplified by Hermione going to the Yuletide Ball with Victor Krum, Bulgarian wizard and Quidditch celebrity. Ron—and to a lesser extent Harry—becomes so blinded by jealousy that Hermione was able to secure a date, that his own invitation to the ball was rebuffed so viscerally, that she has been able to capture the eye of one of his idols, he completely dismisses her identity as a young woman and insinuates that the only way a man would be interested in her is for some kind of nefarious plot: to use her for information. When Ron says, “He [Krum] knows who you hang around with. . . . He’s just trying to get closer to Harry—get inside information on him—or get near enough to jinx him,” Hermione “looked as though Ron slapped her”18 and then became outraged, storming off as Ron created even more elaborate, far-fetched plots as justification for why Hermione would be seen as a desirable date when he is so miserable. It is this ego-blow that distracts the boys from the very serious competitions and threat of Voldemort hovering around the edges of the tournament. Harry knows that the Dark Lord is looming, but the boys get so distracted by ego-trips and exhibits of masculine strength that he loses sight of the real threat. And it is in this that one of the greatest tragedies of the series becomes apparent. Hermione creates a bridge between the British and Romanian wizards in dating Krum, able to put aside competition in order to forge connections through empathy, recognizing the important fact that “[t]his whole tournament’s supposed to be about getting to know foreign wizards and making friends with them.”19 This connection could have resulted in a much more powerful alliance to defeat Voldemort, with the backing of another population of wizards to fight off the dark magic that is threatening to strangle the British wizarding community. And yet, the boys are so distracted by their own desires that they sever this tie in the face of masculine competition. How frivolous that a date to a dance ruined such potential, driven out by the male ego and the need to gain glory. And because of Hermione’s sexuality and female identity, Ron and Harry (and even other boys in the narrative) are quick to dismiss not only her judgment of other males, but her opinions more broadly. And yet it is Hermione’s ideas, and her position as both female and Muggle-born, that leads her to fight for unity and equality, bringing about the most important social change in the narrative series. Consider how important and lovable Dobby is in the series, both in his role as a messenger and the ultimate sacrifice that he makes at Bellatrix’s

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wand to save Harry and his friends. But despite all he does to assist Harry, it is Hermione who fights for the freedom of the house-elves as a class, pushing for reform in the ways that wizards view these creatures by forming S.P.E.W. (Society for the Promotion of Elfish Welfare). Dedicating valuable hours and time, Hermione recognizes that “Elf enslavement goes back centuries. I can’t believe no one’s done anything about it before now,” and so as head of S.P.E.W, Hermione wishes to “secure house-elves fair wages and working conditions. Our long-term aims include changing the law about non-wand use, and trying to get an elf into the Department for the Regulation and Control of Magical Creatures, because they’re shockingly underrepresented.”20 Because Hermione understands the various injustices and inequities in the Muggle world as a Muggle-born wizard, and thus she herself is in a marginalized population in the wizarding community, because she is a young woman in a space dominated by the egos of her male peers, she is able to not only recognize an injustice that oppresses others, but advocate for change that would provide these underserved elves a living wage and government representation, affording them a power and privilege they have not had access to. She is able to see the humanity in those who are in a different class than herself, while most other wizards, including Harry, do not even notice their existence (or celebrate and benefit from their servitude, and therefore are unwilling to disrupt the system to fight for their liberation and fair treatment). Harry’s relationship with Dobby is only different because Dobby, on multiple occasions, has saved Harry’s life, and so he has a personal relationship with Harry; regardless, one should not need to have a personal relationship with his oppressor or feel like he is “owed” humanity and compassion from those around him in order to be treated with dignity. Dobby’s liberation from the Malfoys in the series is a wonderful celebratory moment, one that works to create an empathetic identity for Harry as he is the one who is directly responsible for this freedom. But while Harry can help to save one specific elf who had helped him, he cannot think about the suffering of the oppressed class in general because of his own male privilege, which allows him a certain blindness to the wider range of suffering. Yet, Hermione is not thanked for trying to advocate for the house-elf class, trying to bring about change and freedom more broadly. Nowhere in this Dobby-assavior trajectory of the story is Hermione thanked, nowhere is she given the credit for being a champion of the house-elves. Instead, Harry takes the glory. When Dobby is later crucial in helping Harry out of the Malfoys’ home when he is trapped and becomes one of the true heroes of the series as he sacrifices himself to save his friends, Harry is the one who gains sympathy from the reader as the great liberator, Hermione’s earlier education and advocacy is forgotten in the shadow of her male friend. But it is her advocacy for the house elf class that allows Harry to change, and while she is often dismissed,

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shunned, or silenced, it is clear that her messages and lessons still penetrate and create systemic change. Behind Every Great Man, There is a Great Woman: Hermione’s Ultimate Act of Selflessness Hermione demonstrates not only her own worth in the narrative, but she solidifies her place as a hero by making the ultimate sacrifice in Harry Potter and the Deathly Hallows.21 Harry, Ron, and Hermione all know that they are risking their lives as they go off to hunt Horcruxes in pursuit of killing Lord Voldemort, but Hermione is the only one of the three to make any real sacrifice in order to do this, and it is deeply tied to her “othered” identity. As Harry tries to convince Ron and Hermione that they should not come on this dangerous quest with him (there goes that male ego again, inflating his own ability and sense of importance), Hermione reveals just how much of herself she is willing to put on the line in order to save the larger community: “I’ve also modified by parents’ memories so that they’re convinced they’re really called Wendell and Monica Wilkins, and that their life’s ambition is to move to Australia, which they have done. That’s to make it difficult for Voldemort to track them down and interrogate them about me—or you [Harry], because unfortunately, I’ve told them quite a bit about you. Assuming I survive our hunt for the Horcruxes, I’ll find Mum and Dad and lift the enchantment. If I don’t—well, I think I’ve cast a good enough charm to keep them safe and happy. Wendell and Monica Wilkins don’t know that they’ve got a daughter, you see.”22 Here, Hermione literally erases her own existence from the memories of her muggle parents, giving up the loving and supportive relationship she has had with them to not only keep them safe, but remove a layer of exposure for Harry himself. In order to protect those she loves, Hermione must remove herself from one of the most important and formative relationships in her life, and she does so without question because she recognizes the gravity, the responsibility of the moment; she knows that this is not about her as an individual, but that as a part of a team, she has the opportunity to create real change for those in her larger community. With tears in her eyes, Hermione matter of factly tells Harry of what she has done. While he has been fretting around the Burrow, in his own head and completely oblivious to those around him, Hermione has forever altered her own history, removing a part of herself so that she can be useful in the hunt for Horcruxes. Ron, privileged with parents in the wizarding community, does not have to endure such a sacrifice (though, of course, his family is at considerable risk given the ties he has to Harry, but he does not have to erase himself from his family in order to protect them). And Harry also does not have a familial sacrifice here; since his parents are dead, the parental figures

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he does have to leave behind have been cruel and cold. But when Harry finally grasps the weight, the heaviness, of Hermione’s sacrifice, when he is able to recognize the “measures [she has] taken to protect [her] famil[y]. . . . He wanted to tell [her] what that meant to him, but he simply could not find words.”23 His lack of communication, a result of his masculinity and his inability to vocalize his feelings, further amplifies how truly paramount Hermione’s action is. Not only did she find the words to explain the lengths that she is willing to go to protect her friend and the wizarding community, but she also is able to support that with quick, decisive action that benefits the greater good while causing herself pain. This action of removing her own existence from her family history reveals just how little ego Hermione has as she is able to erase herself and her identity. This sacrifice solidifies her role as a true hero in the narrative. CONCLUDING THOUGHTS Even though Hermione is the most intelligent and humbled, making the ultimate sacrifice of leaving her family behind to help Harry and Ron track down the horcruxes, she is not often allowed in the text to celebrate any of her successes, whether those are academic or personal, in service of preserving the fragile egos of her male counterparts. The boys do grow and mature throughout the story, largely thanks to Hermione, and yet, as Michael J. Diamond states in “Masculinity Unraveled: The Roots of Male Gender Identity and the Shifting of Male Ego Ideals Throughout Life,” “Friendship itself helps Harry grow toward maturity, however, he [Harry] experiences Ron more as an equal, and Hermione more of a caretaker.”24 Seen as the caretaker of the group, she must put aside her academic glory as Harry wins more House Points for a game of Quidditch or let go of her relationship to Viktor Krum because he threatens Ron’s sense of masculinity, yet it is Hermione’s growth, sacrifices, and successes that truly save the entire community. Without her quick action, thoughtful planning, and keen insight, the boys, distracted by their inflated senses of self, would have given up or gotten stuck at a dead end a long time ago, to the peril of the greater wizarding world. The ultimate safety of Hogwarts and the success of the final battle to defeat Voldemort would not have been possible without Hermione’s femininity as a foil and often antidote to the at times toxic masculinity of her peers. It is her human qualities of communication, connection, and compassion that saves the day in the end, and it is for this reason that Hermione is one of the greatest heroes.

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NOTES 1. J. K. Rowling. Harry Potter and the Sorcerer’s Stone. (New York: Scholastic, 1998). 2. J. K. Rowling. Harry Potter and the Sorcerer’s Stone. (New York: Scholastic, 1998), 103. 3. Rowling, Harry Potter and the Sorcerer’s Stone, 105. 4. Rowling, Harry Potter and the Sorcerer’s Stone, 105. 5. Rowling, Harry Potter and the Sorcerer’s Stone, 106. 6. Rowling, Harry Potter and the Sorcerer’s Stone, 199. 7. Rowling, Harry Potter and the Sorcerer’s Stone, 208. 8. Rowling, Harry Potter and the Sorcerer’s Stone, 211. 9. Rowling, Harry Potter and the Sorcerer’s Stone, 271. 10. Rowling, Harry Potter and the Sorcerer’s Stone, 273. 11. Rowling, Harry Potter and the Sorcerer’s Stone, 277. 12. Rowling, Harry Potter and the Sorcerer’s Stone, 278. 13. Rowling, Harry Potter and the Sorcerer’s Stone, 285. 14. Rowling, Harry Potter and the Sorcerer’s Stone, 286–87. 15. J. K. Rowling. Harry Potter and the Goblet of Fire. (New York: Scholastic, 2000). 16. Rowling, Harry Potter and the Goblet of Fire, 236. 17. Rowling, Harry Potter and the Goblet of Fire, 236. 18. Rowling, Harry Potter and the Goblet of Fire, 422. 19. Rowling, Harry Potter and the Goblet of Fire, 423. 20. Rowling, Harry Potter and the Goblet of Fire, 224–25. 21. J. K. Rowling, Harry Potter and the Deathly Hallows. (New York: Scholastic, 2007). 22. Rowling, Harry Potter and the Deathly Hallows, 96–97. 23. Rowling, Harry Potter and the Deathly Hallows, 99. 24. Michael J. Diamond, “Masculinity Unraveled: The Roots of Male Gender Identity and the Shifting Male Ego Ideals Throughout Life,” Journal of the American Psychoanalytic Association 54, no. 4 (December 2006): 1099–1130.

Chapter 10

What I Need Is You The Partnership of Bruno Carrelli and Kamala Khan in the Ms. Marvel Comics Margaret A. Robbins

In the new Ms. Marvel comic series by G. Willow Wilson and Saladin Ahmed, Kamala Khan and Bruno Carrelli’s relationship is one of classic best friends who develop romantic feelings. However, at a deeper glance, their relationship is a more complex one. Kamala, a teenage girl of color, is the front runner of the series and has strong attributes and superpowers. Bruno, a White male and the grandson of Italian Catholic immigrants, serves as the supportive “first mate” or “sidekick” character to Kamala. Although he has a high IQ, Bruno is a more human character whose powers lie in his loyalty and his brains rather than in superpowers. As the series progresses, Bruno has to overcome challenges related to (dis)ability and coming from a lower socioeconomic status family in addition to the challenges of winning over Kamala’s Muslim Pakistani-American family. Taking into account the perspectives of critical race feminism and (dis)ability studies, this essay will explain how Bruno is a supportive friend and partner to Kamala regardless of circumstances and how their human/superhero relationship subverts the previously normative one of male superhero front-runner and female sidekick. Kamala Khan, a Pakistani-American teenage girl and the heroine of the new Ms. Marvel series, is in a comic narrative in which she fights next to her mentors and Marvel superhero greats such as Captain Marvel, Wolverine, and Spider-Man. Kamala is a primary example of a character that fights against the categories people give her based on her gender, ethnicity, and age. For Kamala, intersectionality1 plays an important role in her choices because she faces expectations not only as a young woman, but also as a 137

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Pakistani-American of a minority religion. Due to the inspiration from her best friend Bruno and her father Abu, Kamala eventually decides not to shape-shift into the form of the blond haired, blue-eyed Ms. Marvel aka Carol Danvers upon using her superpowers, but instead to remain in a stronger version of her own embodiment and, therefore, to be her own superhero. This moment in Volume 1 of the series is pivotal in her character development. As related to Kamala Khan’s quest for self-discovery and understanding of her own identity, African-American feminists have described the concept of “multiple consciousness” or “intersectionality,” which is “the idea that distinct systems of racism, sex, and class oppression interact simultaneously in the lives of women of color in the United States.”2 Kamala’s female identity plays a major role in her emergence as the newly minted superhero Ms. Marvel, following in the steps of Captain Marvel aka Carol Danvers. Kamala’s age of 16 and her racial identity are also important components of her narrative, which includes both her superhero adventures and her more typical struggles as a coming-of-age teenage girl. As is becoming more typical of women her age, Kamala has ambitions for being a strong leader, perhaps more so than the more traditional female goals of having a partner and a family. As related to intersectional feminism, critical race feminism is also pertinent to Kamala Khan’s graphic narrative and, in particular, to Bruno coming to terms with his new (dis)ability. Critical race feminist theory is an approach to understanding “how individuals located perilously at the intersections of race, class, gender, and disability are constituted as noncitizens and (no) bodies by the very social institutions (legal, educational, and rehabilitational) that are designed to protect, nurture, and empower them.”3 This theory is pertinent to both the assimilation and the embodiment issues of Kamala’s and Bruno’s narrative arcs. Additional embodiment concerns in the Ms. Marvel series involve the (dis)ability narrative of Bruno Carrelli, which is interesting in comparison and contrast to Kamala learning to live inside of her new superhuman body. Superhero comics present an especially intriguing forum for exploring the body and (dis)ability: “superhero comics present body narratives, body fantasies, that incorporate (incarnate) aggrandizement and anxiety, mastery, and trauma. Comics narrate the body in stories and envision the body in drawings.”4 Kamala has to adjust to her body’s superhero tendencies, such as embiggening (her superpower) and having superhuman strength. Bruno, as a point of contrast, has to adjust when he gets in over his head, causes an explosion to rescue a friend, and therefore loses movement on the left side of his body. However, once Bruno learns how best to use his new body, he becomes an even stronger “sidekick” in some regards because of his resilience and belief in his own abilities.

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SIGNIFICANCE OF THE SIDEKICK Patricia Hopkins pointed out that superhero narratives can be relatable to people with (dis)abilities, whether or not their (dis)abilities are visible, because of the stress involved with having a body considered outside of the norm: Many people also have an undetectable abnormality that causes distress when you attempt to hide it: say, a minority sexual orientation or a social anxiety or Jean Grey’s unruly telepathy. Maybe you have a detectable abnormality that causes distress, such as a missing limb, a deformity, or Nightcrawler’s tail and three-fingered hands.5

People like myself, who have a learning disability and another “hidden” disability, can feel drawn to superhero narratives in which a character in the story must learn the advantages and disadvantages of a unique embodiment. Bruno and Kamala both have embodiments that are non-normative for different reasons. Just as Bruno supports Kamala when she gains her superhero powers, Kamala must support Bruno when he loses some of his human strength after the accident. Hopkins also noted that, “fantasy and science fiction provide an escape from the normal, allowing us to imagine the richness of a life that is enhanced by having special abilities and extraordinary experiences.”6 Although Kamala and Bruno face challenges with their unique embodiments, they live in a speculative fiction superhero world that offers hope in using their bodies to improve life situations. Perhaps, with the advancement of science and knowledge, those of us with hidden and unhidden (dis)abilities will continue to hope for better life situations. For now though, we can find comfort in superhero narratives as places where non-normative bodies are accepted and even celebrated. Through reading superhero narratives, there is hope for a better future in which bodies of all shapes, sizes, and colors are accepted and empowered. ASSIMILATION Like earlier comic superheroes such as Superman, Kamala Khan and Bruno Carrelli are both dealing with issues pertaining to assimilation, hence part of why they have a strong connection. Kavaldo explained that during the Golden Age of comics (the late 1930s through the mid-1950s), many comic writers “drew directly from the unique character of the American Jewish immigrant experience to create a powerful ‘assimilationist fantasy.’”7 According to Kavaldo, Superman, one of the original superheroes, served and still serves

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as an example of this duality of being a Superhero with the last name “man” and having the very Americanized name of Clark Kent and appearing to be a bumbling newspaper reporter. Kamala, like superman, has multiple aspects of her identity that she juggles. She is trying to navigate pleasing her strict Muslim parents with their expectations of their young female daughter with trying to fit in with her peers. Her parents want her to engage with her religious faith and keep up with her grades while her peers are eager to invite her to parties with drinking, a behavior not deemed acceptable by her parents. With her superhero mentors, she has similar structures: trying to stay true to herself while following their guidance and trying to balance her superhero responsibilities with more typical teenage responsibilities such as school and a social life. Bruno’s challenge, in some regards, is the opposite of Kamala’s. Later in the series, readers learn that he lives with his Nonna (grandmother), an immigrant from Italy, because his mother has a drug problem, and the grandparents struggle to make ends meet. Therefore, Bruno has to work at the local quick mart to make money. Because the grandmother has her hands full with his brother Vic, who sometimes gets into trouble, Bruno’s home support is more limited than Kamala’s. The expectations for Bruno to get a scholarship and go to a good science-based college appear to mainly come more internally. Because Bruno does not have parents who are as able to be present, he appreciates Kamala’s parents being involved even though they can come across as overbearing. For instance, when she disappears in Volume 1 and Bruno cannot find Kamala, he calls her parents to get their help. Although this decision angers Kamala at first, she eventually realizes that Bruno made this decision with her best interests in mind. Even though there are similarities in Bruno and Kamala in terms of background, the level of home support they get is very different. However, both Bruno and Kamala are from families who are working hard to assimilate into American culture despite overcoming some challenges related to race, religion, and socioeconomic status. According to Kavaldo, the comics/graphic medium is appropriate for Kamala’s narrative as well as other marginalized voices. Many of the original creators of comics were Jewish, such as Stan Lee, Superman’s Jerry Siegel and Joe Schuster, Batman’s Bob Kane and Bill Finger, Will Eisner, and Jack Kirby, among others. These writers often directly and indirectly included narratives of the Jewish struggle in the 1940s–1960s, as many original comic heroes were of alien descent and had to assimilate to our planet. Kamala, like Superman, eventually finds out that she is partly of extraterrestrial descent. Kamala and Bruno’s stories are modern day immigration assimilation stories with connections to earlier assimilation narratives in America.

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The narrative of a Pakistani-American Muslim woman and the grandson of Italian immigrants assimilating into American culture while fighting evil forces, paralleling earlier superheroes created by Jewish immigrants, remains timely twenty years after 9/11. The story is of utmost importance in light of anti-Muslim sentiments that still prevail in the United States and due to our current political climate and world events surrounding the United States’ political relationships with the Middle East. As aforementioned, Kamala faces the same struggles of most American female teenagers, yet with the added struggles due to being a minority race and religion in the United States. Her partial-alien Kree identity may parallel feeling like an Alien in this country, just like the Jewish creators must have felt estranged and marginalized during the World War II era. In addition, Bruno’s family’s socioeconomic struggles are pertinent in a political climate in which divisions exist between Americans not only because of race and religion, but also because of socioeconomic differences. Through Bruno giving Kamala support in trying to develop her powers, the duo subverts the traditional female sidekick and male superhero narrative. However, their partnership is complicated by romantic feelings that ebb and flow throughout the course of the series. Their relationship is both one of support and one with elements of an interfaith and intercultural romance. The series, with the ever-complicated relationship between Kamala and her primary male sidekick, invites important larger questions: What creates a true partnership between a male and a female? Can true love get past the limitations of religion, race, socioeconomic class, and culture? Should a female prioritize romantic love or her own aspirations, regardless of societal pressures? While they work to overcome these challenges, Bruno teaches Kamala about self-confidence and also helps her to better discover her true priorities. As early as Ms. Marvel Volume 1: No Normal, Bruno is one of Kamala’s strongest supporters and challenges her to be a better version of herself. He is the first of her family and friends to learn of her superhero identity. The circumstances are entirely accidental: Kamala goes into the Circle Q to talk to Bruno about the tension between them that started when Bruno called her parents the night she sneaked out to the party and he then could not find her amid the mist. Unexpectedly, Kamala has to enact her superhero powers and protect Bruno from a hold-up at the Circle Q, the masked man with the gun later revealed to be Bruno’s brother Vic in disguise. As a result of the altercation, Ms. Marvel gets accidentally shot. During her healing process, Ms. Marvel shape shifts back into her true form of Kamala, and Bruno therefore learns his best friend’s secret. At first, Bruno is mad at Kamala for not telling him the truth about her identity. But then he understands, as she’s concerned about what would happen to her and to her family if people found out the truth (i.e., she might be

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sold to science). Bruno then encourages her to discontinue shape shifting and to be her own version of Ms. Marvel: “Who cares what people expect? Maybe they expect some perfect blonde, what I need—I mean, what we need—is you.”8 During this awkward, but moving conversation, Bruno also reveals that he appreciates Kamala for who she is, rather than what she looks like: “You’re the coolest girl I’ve ever met. You say what you mean and you kick butt at video games and you’re smart and funny.”9 Bruno not only reveals potential romantic feelings for Kamala in this exchange, but also shows a willingness to accept her for exactly who she is. He subverts the stereotype of a male who wants to be romantically connected to a tall, thin blond woman who is conventionally attractive by American society’s standards. This exchange is a pinnacle moment that leads Kamala later in the volume to create a new costume that is more comfortable and that shows her Pakistani heritage. Bruno encourages Kamala to be her own version of a superhero rather than a copy of Carol Danvers. Volume 1 strengthens the friendship between Bruno and Kamala and also begins the superhuman/human partnership between the two characters which continues (although somewhat intermittently) throughout the series. After Kamala creates a new costume that shows aspects of her American and Pakistani identity alike, the two go on together to rescue Bruno’s brother Vic, who has been abducted and taken to The Inventor’s makeshift fort. Initially, they plan to just do surveillance on their first visit, but then circumstances shift unexpectedly, and Kamala tries unsuccessfully to escape with Vic. The mission is unsuccessful because Kamala is outnumbered and also has not fully mastered her superhero powers, which goes along with her becoming more comfortable in her own skin, both as a teenage girl and as a superhero. Once she settles down from the mission, Kamala calls Bruno and says “ . . . I lost. I’m gonna need to borrow your science nerd brain.”10 Since Kamala does not feel ready to tell her family and the rest of her friend group the truth about her circumstances to protect their safety, Bruno quickly becomes her go-to person in tough situations. Although Bruno does not have superpowers, he has an IQ of 170 plus and knows how to shrink Kamala down to hamster size and train her to use her powers better. The two work together to make Kamala faster and more adept at her superpowers. Using Bruno’s new human knowledge, Kamala quickly goes back to the Inventor’s makeshift fort and rescues Vic. In many regards, Kamala and Bruno are at their best when they are together. Kamala learns from these exchanges that “good is not a thing you are. It’s a thing you do.”11 It is not only having the superpowers, but knowing how best to use them for good purposes, which she learns in part from her best friend. Kamala therefore forms her own superhero identity, in part with Bruno’s help.

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Despite their closeness and their ability to work well as a team, external factors bring challenges to Bruno and Kamala’s relationship as the series progresses. In Volume 3, the reader becomes more aware of Bruno’s feelings, the similarities that draw Bruno and Kamala together, and their cultural differences. Upon realizing that Kamala has a new romantic interest, Bruno has an awkward conversation with Aamir, Kamala’s older brother. He expresses the belief that they’re too young to date, but that even if they were both thirty-five, it would not work because “you’re Catholic, she’s Muslim, you’re Italian, she’s Pakistani.”12 While these issues prove challenging in a romantic partnership, Bruno pushes back, noting that he and Kamala are “not that different. We’re both from immigrant families. My Nonna is as crazy-religious as you are. . . . She and my pop-pop got married when they were nineteen back in Napoli and worked their way back to us. I know where you guys are coming from, ‘cause I’ve been there.”13 Bruno sees common ground between him and Kamala in spite of the differences that Aamir points out. Bruno’s point is that despite their religious and cultural differences, both Kamala and Bruno come from families that are striving for the American dream against the odds, which is part of why they understand each other. However, Aamir’s response shows the challenges that Kamala’s family would pose: I’m not saying you’re not a good guy. But my parents expect Kamala to marry someone like us. Because they don’t want our heritage to die out. They want their grandkids to feel connected to their religion, their language. . . . They want their daughter to be proud of who she is, and to pass that pride down to the next generation. If you care about Kamala, you’d want those things for her too.14

Aamir’s comments, while perhaps too forward, point out the intersectional identities that Kamala has and the very real balance between assimilation and holding on to one’s cultural traditions. Bruno’s response is “but . . . I can’t not love her. I’ve tried.”15 Later volumes show that their love first started in elementary school when Bruno and Kamala stuck up for each other when people started the trend of teasing them for being different (Bruno for being from a poor family and Kamala for being Pakistani-American and Muslim) and that they would continue to fight for each other. But this scene shows what motivates Bruno: not only his affection for Kamala, but his desire to prove himself to her family. While the two care deeply for each other, Kamala already struggles to find a balance between holding onto her family’s cultural values and embracing her American teen identity. Even though Bruno is also from a family of immigrants, his family has been in the U.S. longer than hers has. Also, he is a White male and Catholic, so there are faith differences between the two

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families as well. Although Bruno’s struggles with assimilation and money are real, Kamala’s situation, arguably, is more challenging in some regards because her family is newer to the United States and is still learning to assimilate. Also, being a woman of color gives Kamala added challenges that Bruno does not have to face. Despite their differences, Bruno’s affection for her is steadfast. In Volume 4, Ms. Marvel: Last Days, the world is literally about to end. Therefore, Bruno and Kamala finally admit their mutual feelings for each other. Bruno notes, “I’ve loved you pretty much ever since I was old enough to know what that word means,”16 a compelling statement, but not surprising, given the risks that the two have taken to protect each other. Kamala admits that her feelings are mutual: “I love you too, Bruno. So much that it’s like— like a light is always on even when I’m fumbling on in the dark. But, I can’t.” This conversation proves to be a climatic moment in their relationship. Bruno assumes that Kamala says this because of their family’s different backgrounds and her family’s potential disapproval. But there’s more to her decision than that: “Being Ms. Marvel—it’s filled up my heart and my life in a way that nothing else I’ve done ever has. I’m not ready to be anything else to anyone else. I need to give this everything I’ve got.”17 She apologizes to Bruno, admitting that she’s been trying to avoid thinking about their relationship status and acknowledging his support: “And you’ve been there for me every step of the way, even though I’ve been ignoring this very important thing. Because you’re amazing.”18 Kamala clearly feels conflicted in her response, but she does not feel it is fair to Bruno to be involved with him because of the timing. Yet Bruno’s response shows his unconditional support: You’re amazing. You’ve taken on this huge responsibility and saved my butt a couple of times and—and you’ve done it all without becoming some sort of weird, totally different person. You’re just—you’re just the best version of Kamala.19

Kamala thanks Bruno for saying the right thing at the right time. He says he wants her to be happy, even if they are not going to be together, and expresses hope that they will soon be out of peril. Their conversation takes on special meaning because of his encouragement early in the series to be the best version of herself as a superhero, not another version of Carol Danvers. Throughout the series, Bruno encourages her to be the best superhero he can be, even at personal sacrifice to himself. Despite their closeness and continued support, middle issues of Ms. Marvel convey conflicts between Bruno and Kamala. In Ms. Marvel Volume 5: Super Famous, Bruno has a new girlfriend, and Kamala has to get used to her presence in Bruno’s life. Michaela, also known as Mike, is a White woman of

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size. When Kamala gets mad at Bruno and he walks away from her shrunken superhero figure, she says “fine by me! Since you’re already spending 99% of your time with your non-tiny girlfriend!”20 Bruno chides Kamala verbally, telling her that her comment “wasn’t cool,” yet his internal dialogue said to himself, “Don’t be that guy. You’re not that guy. Mike is great the way she is.”21 Then Kamala apologizes, saying she’s felt blind-sided and surprised by Bruno’s involvement with the new girlfriend Mike. Yet the comment has been said, and she cannot un-say it, even though she feels bad about it. Mike and Bruno have a strong emotional connection, yet in this dialogue, the reader sees both Kamala and Bruno struggling not to chastise or show prejudice against Mike because of her size. There is irony in this scene, as Kamala and Bruno are both the children of immigrants and have been made fun of by unkind peers because of their differences. In earlier volumes, Kamala conveys that she feels different because of her Muslim faith, and Bruno felt different even as a small child because his family was not well off. As people who are not White middle class, Bruno and Kamala both learn to be accepting of people of different sizes, in addition to different religious faiths, races, and socioeconomic statuses. Throughout the narrative, the two encourage each other to learn and grow. Although Kamala is jealous of Mike initially, she has to remember that she is the one who made a conscious decision not to have Bruno as a romantic partner because she wanted to give her superhero duties everything she had. Sometimes, though, she feels like the choice has come back to haunt her. Her dilemma is indicative of the larger struggle of modern women: career or love? Is it possible to balance the two? This is a choice that is still not fully celebrated and accepted by society, choosing a career interest over a potential mate. But Bruno honors and accepts it, and Kamala realizes she needs to be nice to Michaela rather than making unkind comments about her weight. As Bruno has supported Kamala amid changing circumstances, she needs to give him the same courtesy. The largest test in Bruno and Kamala’s friendship occurs in Volume 6, Ms. Marvel: Civil War II. Because of a system that Captain Marvel has set up to detain criminals before they are able to commit crimes, Kamala, as Carol Danvers’ second in command, has to make the difficult decision to detain her friend Josh when Captain Marvel’s crew discovers that he had potentially illegal plans for Coles Academic High School. Josh is not given an opportunity to explain the situation and gets detained immediately. Bruno expresses his disagreement with the situation, and Kamala in her Ms. Marvel outfit asks Bruno to let her handle the situation. Despite his usual support for Kamala, because he’s upset for Josh, Bruno takes the situation into his own hands. He builds a small machine designed to destroy part of the detention center to get Josh out. Unfortunately, the explosion goes awry, and

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the explosion seriously injures Bruno. While Bruno’s intentions were good, his actions showed that he was in over his head when making decisions. Bruno is at times too ambitious, and Kamala is at times self-centered. The fact that both the superhero woman of the series and her male human sidekick are flawed adds to the realism of their characters, making them more relatable to readers. After the accident, the doctors initially say that he’ll be lucky to walk again. Bruno is able to walk, but he no longer has use of his left hand. Kamala understands the seriousness of the situation: “But he’s left handed! He makes things—that’s his life—if he can’t work in the lab, he’ll—.”22 Bruno’s life passion is making objects to help with scientific experiments, as shown in the science competition with Miles Morales, the new Spiderman, and the other New Yorkers earlier in the volume. Now, Bruno’s career and college aspirations are at risk, and Kamala has to live with the guilt that although she did not make the decision to detain Josh, she was in charge of the people who performed the action at the order of Captain Marvel. Kamala’s friends feel betrayed, especially Bruno, and they have to re-evaluate their loyalties. In this volume, there is a flash back to elementary school when Bruno and Kamala first became close friends because of their shared interests in superheroes and other nerdy decor. Kamala’s parents bring her to school and inquire gently about the smell, which is the “Carelli boy” because he hasn’t had a bath in a while, due to being taken away from his mother, who has a drug problem, and being placed with Italian immigrant grandparents who struggle financially. Because of their own immigration status, Mr. and Mrs. Khan feel empathy for Bruno. Mr. Khan offers to pay Bruno’s activity fees since his grandparents cannot. Mrs. Khan encourages Kamala to make friends with Bruno: “You never know what people have been through. Sometimes, people are not at their best. Sometimes, families get separated. You should know that better than most.”23 Mrs. Khan can empathize because her grandmother had to separate from some of her family to flee from India to Karachi, Pakistan, back in 1947, when Pakistan achieved freedom as its own country. She also feels empathy because of the experience that she, Aamir, and Mr. Khan had when immigrating to the United States when she was pregnant with Kamala. This empathy was the start of a beautiful friendship and partnership between Bruno and Kamala which the reader hopes will withstand the current challenges. In addition to troubling traditional gender norms, Bruno and Kamala’s partnership encourages readers to have more empathy for the immigrant experience. This part of the narrative arc also shows very real challenges that immigrants face, such as being separated from their families. Volumes 7 and 8 of the series show Bruno becoming his own person and coming to terms with his (dis)ability status. Volume 7 in particular is

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compelling because Bruno goes to Wakanda to study. He feels as though he is the charity case of his class because of his socioeconomic status and his new (dis)ability status. Kamala definitely feels Bruno’s absence when trying to deal with the aftermath of the Captain Marvel project gone wrong and someone who appears to be stalking her online: “Normally, I would just pick up the phone and call Bruno for a job like this. But Bruno is gone . . . so I have to work it out myself.”24 While the time apart is hard on both Kamala and Bruno, for different reasons, it also gives both of them an opportunity for personal growth. In Wakanda, Bruno is a racial minority for the first time in his life. However, he makes an important friendship alliance with Kwezi, who the reader initially learns is the nephew of King T’Challa. Kwezi convinces Bruno to go on a mission with him to get vibranium, claiming that he’s doing so in order to impress a girl. However, once the mission is accomplished, despite them breaking the rules and facing T’Challa’s wrath and warning, Kwezi admits that he had another reason for getting the vibranium: to help Bruno better overcome his injury. Ironically enough, this is just after Bruno nearly had a fall and was accepting the fact that his disability was forever: “This is wheelchair ramps, disability waivers, modified steering wheels, limited driver’s licenses, being unable to use a kitchen knife. This is gradual loss of lateral sensation, due to neural and muscular atrophy. This is going to get worse.”25 Despite this feeling, he realizes that “I still have stuff to do. I’m not done yet. I want to live.” Bruno therefore recognizes that his life is going to be different from this point on, but he still wants to live and to help others. His interactions with Kamala are a key part of why he makes the decision to continue to push to help others, even when it involves personal sacrifice. Because of the scientific qualities of vibranium in Wakanda, Kwezi has given Bruno a way to improve his life: Vibranium can absorb kinetic energy. By running a very small current through it, I think I can create a sort of full-body brace. It would act like an external neural net, amplifying the signals from Bruno’s nerves. It won’t fix things. You’ll never get your fine motor skills back on that side. And it won’t stop the atrophy. You may still need a wheelchair someday. But I think I can make it so you can walk without a crutch for now. For a few years, anyway. And maybe . . . maybe even lift your left arm when you need to.26

While this invention will not solve all of Bruno’s problems, it will certainly make his life easier. Now, he has the hope of learning to use his nondominant hand for his work and to have more mobility. In subsequent issues of Ms. Marvel and The Magnificent Ms. Marvel, Bruno’s full body brace is

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noticeable, but his mobility has improved a lot. Because of his experiences in Wakanda, Bruno will have a better quality of life when he returns to the United States. Wakanda subverts stereotypes that some people have about Africa, yet another example of Kamala and Bruno’s story questioning the status quo in America. On the one hand, the story might have had more depth had Bruno had to overcome more issues with his new physical disabilities. However, modern day technology has been able to help many physically disabled people to live more normal lives. Additionally, Bruno’s friendship with Kwezi, who calls him “Yankee Doodle,” has storytelling potential for future superhero narratives. Since this work is Young Adult Literature due to the age of the characters, in addition to being a comic, it is important to give Bruno’s narrative arc a sense of hope. There is hope that Wakandan technology can continue to help Bruno in the future, along with his friendship and connection with this technologically advanced nation and superheroes. Also, being more mobile gives Bruno more potential to help Kamala and others in future superhero adventures. While the issue is still there and could continue to have potential consequences, the blow has been softened for now. In Volume 8 of the series,27 Bruno receives the award of honorary Wakanda citizen, which shows the importance of his political and personal connections. While Bruno is in Wakanda, he proves his own capabilities without Kamala at his side. Therefore, in the long run, he will be a better “sidekick” figure because he has more faith in his own strengths and abilities. As the series progresses into later issues, the partnership and romance of Kamala and Bruno comes back full circle. In Issue 9 of the newly titled series The Magnificent Ms. Marvel with the new creative team of Ahmed, Jung, Vlasco, and Herring, Kamala and Bruno’s friendship shows more evidence of going to the level of romance. He continues to show steadfast support, bringing food to the Khan family when Kamala’s father is hospitalized, saying “bagels were all I could afford. Sorry.”28 This brief quote notes Bruno’s continued money challenge, but also that he does the best he can in difficult circumstances. At the end of Issue 9, Bruno tells Kamala that he loves her, and the two share a kiss. There is potential conflict in how Kamala’s family could respond to this change in relationship, given their religious and cultural differences. Yet as the story progresses into Issue 10, Bruno watches her family while Kamala fights the bad guys, serving as the human support system to a woman of superhuman strength. While they are in the waiting room at the hospital, Aamir is about to express the same concern as the past about their cultural differences: “Bruno, I’ve told you before, you and Kamala. . . . Look, I get it. You understand my sister. You really do, but.”29 But then Aamir states they

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can have the conversation later because he needs to be with his mother and sick father and they need him to find Kamala. Interestingly enough, Aamir might be the most disapproving member of the family. He is the most religious member of the Khan family, and he married someone of a different race, but the same religion. Arguably, these issues could cause criticism for Kamala feeling more romantically inclined, after making a conscious decision to focus solely on her superhero mission in previous issues. However, even though her relationship with Bruno endures changes, she makes it clear that she is not going to be diverted from her most important mission yet: to save her father’s life. She continues to fight the bad guys, even after she and Bruno share a kiss and their most intimate moment yet. Bruno will still fight for Kamala and her family, even if he has to do so on the side lines. In some of the later issues of Saladin Ahmed’s run of Ms. Marvel, Kamala and Bruno both have to make tough choices with consequences. A Stormranger, who appears to be Kamala’s suit and a darker side of Kamala, appears in Issue 11 of The Magnificent Ms. Marvel,30 which adds challenge to Kamala’s quest to save her father’s life. With Bruno’s support, Kamala is able to fight off the Stormranger, symbolic of her challenges, and also save her father’s life, although like Bruno, Mr. Khan will continue to have health challenges. Things seem to be looking up for Kamala, and the reader wonders if things will finally “click” for Bruno and Kamala. However, in Issue 15,31 Kamala and Bruno talk about the kiss in Issue 9 and the feelings it brought up. The two mutually agree that because Kamala’s life is so complicated as a superhero and with her father’s health and because Bruno needs to sort out his feelings about Mike returning to town from Italy, they should go back to being friends. Issue 1832 solidifies their decision to remain platonic for the time being. Bruno brings Mike to the school dance. Despite Kamala’s mixed feelings about the situation, she is kind to Mike and does not make mean comments about her, showing growth and maturity in her character. The friend group shares a selfie together as the series ends: Bruno, Mike, Kamala, Nakia, and Zoe. Despite the friend group’s challenges, they have remained supportive of Kamala, even after the bombing at Coles Academic High School that caused Ms. Marvel and other kid superheroes to be hunted. Zoe was mean to Bruno, Nakia, and Kamala early in the series, but over time, she has become accepted into the friend crew. A re-emerging theme of this series is that characters can, and sometimes should, grow and change. Kamala and Bruno help their friends to do so, in addition to each other. Even though The Magnificent Ms. Marvel has ended as a solo series for Kamala, she will continue to be a character in Champions, The Avengers, and possibly in other Marvel stories. She will also soon have her own television

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show and have a role in the next Captain Marvel. Clearly, the character has resonated with many people. Her relationship with Bruno has been important to her narrative arc throughout the series, so hopefully, we will continue to see Bruno in future Kamala Khan stories. CONCLUDING THOUGHTS The Ms. Marvel comic series by G. Willow Wilson and Saladin Ahmed is especially relevant in a period where the United States is in conflict with the Middle East. As Kamala and Bruno overcome challenges of having unique embodiments, they also strive to grow their relationship amid cultural differences and Kamala’s goals as a superhero. Perhaps their narrative will offer hope for love across cultural boundaries. The narrative evokes sympathy for a variety of immigrant and assimilation experiences, which is important during our current world events. Additionally, a White American male supports a woman of color who is coming into her own as a leader, a relationship that resonates during a time in which we have our first woman Vice President, a woman of color, and our inaugural First Man, a White American male who is very vocal in his support of Kamala Harris and hopeful that he will not be the last First Man. At the end of the series, Kamala and Bruno’s relationship has not been fully resolved. However, Kamala seems to be okay with the lack of resolution. They still have feelings for each other, but they have both learned that sometimes, truly loving someone means not being with them romantically in a given moment. It does, however, mean being consistently supportive. The modern day friend or romantic partner struggle resonates with many readers, especially as Kamala tries to balance love of all kinds with being a superhero and a “normal” teenage girl. While some parts of Kamala’s future are uncertain, hopefully, one aspect will remain: Bruno as a supportive friend and partner who has helped Kamala evolve into her best self. NOTES 1. Kimberle Crenshaw. “Mapping the Margins: Intersectionality, Identity, Politics, and Violence Against Women of Color.” Stanford Law Review, 43, no. 6 (1991). 1241–99. 2. Suzanne Kelley, Gowri Parameswaran, & Nancy Schneidewind. Women: Images and Realities, A Multicultural Anthology, 5th edition. (New York: McGraw-Hill, 2012). 13.

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3. Nimrala Ereveilles and Andrea Minear. “Unspeakable Offenses: Untangling Race and Disability in Discourses of Intersectionality.” The disability studies reader, 4th edition, Edited by Lennard J. Davis. (New York: Routledge, 2013). 354. 4. Jose Alaniz. Death, Disability, and the Superhero: The Silver Age and Beyond. (Jackson: University Press of Mississippi, 2015). 17. 5. Patricia D. Hopkins. “The Lure of the Normal: Who Wouldn’t Want to be a Mutant?” In X-men and philosophy: Astonishing Insight and Uncanny Argument in the Mutant X-Verse, Edited by Rebecca Housel and J. Jeremy Wisnewski. (Hoboken: John Wiley & Sons, 2009). 9. 6. Patricia D. Hopkins. “The Lure of the Normal: Who Wouldn’t Want to be a Mutant?” In X-men and philosophy: Astonishing Insight and Uncanny Argument in the Mutant X-Verse, Edited by Rebecca Housel and J. Jeremy Wisnewski. (Hoboken: John Wiley & Sons, 2009). 12–13. 7. Kavaldo, Jesse. “X-istential X-Men: Jews, Supermen, and the Literature of Struggle.” In X-men and philosophy: Astonishing Insight and Uncanny Argument in the Mutant X-Verse, Edited by Rebecca Housel and J. Jeremy Wisnewski. (Hoboken: John Wiley & Sons, 2009). 41. 8. G. Willow Wilson & Adrian Alphona. Ms. Marvel Volume 1: No Normal. New York: Marvel Entertainment, 2014. 9. G. Willow Wilson & Adrian Alphona. Ms. Marvel Volume 1: No Normal. New York: Marvel Entertainment, 2014. 10. G. Willow Wilson & Adrian Alphona. Ms. Marvel Volume 1: No Normal. New York: Marvel Entertainment, 2014. 11. G. Willow Wilson & Adrian Alphona. Ms. Marvel Volume 1: No Normal. New York: Marvel Entertainment, 2014. 12. G. Willow Wilson, Elmo Bondoc, & Takeshi Miyazawa. Ms. Marvel Volume 3: Crushed. New York: Marvel Entertainment, 2015. 13. G. Willow Wilson, Elmo Bondoc, & Takeshi Miyazawa. Ms. Marvel Volume 3: Crushed. New York: Marvel Entertainment, 2015. 14. G. Willow Wilson, Elmo Bondoc, & Takeshi Miyazawa. Ms. Marvel Volume 3: Crushed. New York: Marvel Entertainment, 2015. 15. G. Willow Wilson, Elmo Bondoc, & Takeshi Miyazawa. Ms. Marvel Volume 3: Crushed. New York: Marvel Entertainment, 2015. 16. G. Willow Wilson & Adrian Alphona. Ms. Marvel Volume 4: Last Days. New York: Marvel Entertainment, 2015. 17. G. Willow Wilson & Adrian Alphona. Ms. Marvel Volume 4: Last Days. New York: Marvel Entertainment, 2015. 18. G. Willow Wilson & Adrian Alphona. Ms. Marvel Volume 4: Last Days. New York: Marvel Entertainment, 2015. 19. G. Willow Wilson & Adrian Alphona. Ms. Marvel Volume 4: Last Days. New York: Marvel Entertainment, 2015. 20. G. Willow Wilson, Takeshi Miyazawa, Adrian Alphona, A. & Nico Leon. Ms. Marvel Volume 5: Super Famous. New York: Marvel Entertainment, 2016. 21. G. Willow Wilson, Takeshi Miyazawa, Adrian Alphona, A. & Nico Leon. Ms. Marvel Volume 5: Super Famous. New York: Marvel Entertainment, 2016.

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22. G. Willow Wilson, Adriann Alphona, Takeshi Miyazawa, & Mirka Andolpho. Ms. Marvel Volume 6: Civil War II. New York: Marvel Entertainment, 2016. 23. G. Willow Wilson, Adriann Alphona, Takeshi Miyazawa, & Mirka Andolpho. Ms. Marvel Volume 6: Civil War II. New York: Marvel Entertainment, 2016. 24. Willow Wilson, Mirka Andolfo, Takeshi Miyazawa, & Francesco Gaston. Ms. Marvel Volume 7: Damage Per Second. New York: Marvel Entertainment, 2017. 25. Willow Wilson, Mirka Andolfo, Takeshi Miyazawa, & Francesco Gaston. Ms. Marvel Volume 7: Damage Per Second. New York: Marvel Entertainment, 2017. 26. Willow Wilson, Mirka Andolfo, Takeshi Miyazawa, & Francesco Gaston. Ms. Marvel Volume 7: Damage Per Second. New York: Marvel Entertainment, 2017. 27. G. Willow Wilson, Marco Failla, Diego Olortegui, & Ian Herring. Ms. Marvel Volume 8: Mecca. New York: Marvel Entertainment, 2017. 28. Saladin Ahmed, Minkyu Jung, Juan Vlasco, & Ian Herring. The Magnificent Ms. Marvel Issue 9. New York: Marvel Entertainment, 2020. 29. Saladin Ahmed, Minkyu Jung, Juan Vlasco, & Ian Herring. The Magnificent Ms. Marvel Issue 10. New York: Marvel Entertainment, 2020. 30. Saladin Ahmed, Minkyu Jung, Juan Vlasco, & Ian Herring. The Magnificent Ms. Marvel Issue 11. New York: Marvel Entertainment, 2020. 31. Saladin Ahmed, Minkyu Jung, Juan Vlasco, & Ian Herring. The Magnificent Ms. Marvel Issue 15. New York: Marvel Entertainment, 2020. 32. Saladin Ahmed, Minkyu Jung, Juan Vlasco, & Ian Herring. The Magnificent Ms. Marvel Issue 18. New York: Marvel Entertainment, 2021.

Chapter 11

You Be the Hero, I Remain the Sidekick? Rick Jones’ Quest to Save Humanity Anke Marie Bock

The classic sidekick, such as Robin or Bucky, dedicates his life to serving a superhero. He is usually male, still a teenager or even a child, and perceives said superhero as a parental figure and functions as supporter. He has no personal goals, and instead lurks in the superhero’s shadow to help whenever he is needed. On many occasions, a sidekick does not develop or evolve as a character contrary to the superhero. Rick Jones, the Hulk’s faithful sidekick, varies from this classical character portrayal as he evolves over the years from a naive and thoughtless teenager to a strong and superpowered hero. Moreover, he seeks emancipation and independence but struggles in his quest. Although freeing himself from a superhero and gaining superpowers himself, Rick fails to become an independent and strong character. He remains a sidekick and keeps working for others. However, the one trait he shares with the classical sidekick, namely being human, emerges as his strongest quality of all. His humanity is also why he functions as a savior for the superhero’s human side. This chapter argues that Rick is the one to enable the superhero to retain his humanity and therefore continue saving the world. Rick first appeared in The Incredible Hulk #1 (1962), which is the Hulk’s origin story. Dr. Bruce Banner works on Gamma rays, a new and more powerful form of nuclear energy. As an intelligent scientist, however, he rejects violence at all costs and even fears that his scientific achievements could be used as weaponry.1 This is also the reason why he keeps the formula for the Gamma bomb to himself. He is afraid that his colleagues would sell it to the Soviets or other enemies of the United States to gain money or power—after 153

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all, the Cold War has already started, just as the arms race has. He does not trust anybody which emphasizes his strong sense of responsibility as well as his patriotism during the Cold War. Furthermore, he tends to see the worst in people, or at least in people such as Igor, his lab colleague. Igor always presses him to tell the secret of the Gamma radiation and once even threatens Dr. Banner after being refused. His name and portrayal allude to Igor being a Soviet spy who experiences immense frustration and a sense of failure by not being able to make Banner disclose his breakthrough regarding the mysterious Gamma rays. In fact, Igor turns out to be the secret agent and Soviet spy Igor Drenkov.2 Just before Banner starts the final test, for which even the military is present, a teenage boy, Rick, enters the test area by car. Banner orders the test to wait and jumps to Rick’s rescue while Igor commences the experiment anyhow. Igor intends to kill Banner with these dangerous Gamma rays in order to keep the United States of America from having such a powerful weapon. He remains unconcerned by the fact that an innocent boy would die as well. Banner, however, manages to save Rick by pushing him out of danger but fails to do so for himself. He is exposed to the Gamma rays without any protection. Instead of dying, however, he mutates and becomes the Hulk, which is the most powerful and dangerous character in the Marvel Universe. In this monstrous figure, Banner cannot control himself and goes on a rampage which contradicts his sense of pacifism and patriotism. Both qualities characterize Banner as an exemplary individual: the ideal American. Consequently, the Hulk embodies his negative and rule-breaking counterpart. The comic emphasizes this portrayal by showing him attacking US soldiers only because they are standing in his way. Thus, Banner suffers from having to transform into this very different character that is a constant part of his personality. RICK’S PURPOSE AS BANNER’S ANCHOR FOR HUMANITY From now on, the Hulk is a constant part of his identity as the inclusion of his personality in his own changes Banner permanently. This manifests itself in a change in his behavior when interacting with other people. Dr. Banner is completely detached from his former life as he does not trust himself to be around others. He is afraid he might harm them when the Hulk takes sudden control of him. As a result, he experiences a loss of identity. The splitting of his personality continues and increases the risks of Banner being lost forever. In order to avoid this, Rick, who feels terribly guilty for this transformation he has caused, helps Banner to lock himself up each night.3 This does not keep the Hulk from resurfacing but at least it keeps him from harming

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anybody. Rick fulfills the function of maintaining as much civility and peace for Banner as possible. Furthermore, Rick protects and supports Dr. Banner, an ideal American, from losing his way and turning into a big green monster which seems impossible to control or reason with. Arguably, Rick’s intervention is also the main reason why Banner manages to live with his Alter Ego and not lose his mind. This means that Banner is not quite capable of maintaining his humanity, and this is similar to the dichotomy of Dr. Jekyll and Mr. Hyde. The Hulk seems to be too strong to be held off by Banner who is in desperate need for external help. Rick fills this position although he may be perceived as just a reckless teenage boy who entered a dangerous test area due to a foolish bet with his friends. SIGNIFICANCE OF THE SIDEKICK Taking care of the Hulk, therefore saving Dr. Banner, provides a sense of purpose to Rick’s life which has been shaped by being an orphan, having neither a job nor prospects, and fooling around with friends.4 This is why Rick is not only the Hulk’s sidekick but also Banner’s friend. Rather, Rick is the reason why Banner continues to exist. If Rick did not lock him up each night and as a result, be able to control the Hulk at least indirectly, Banner would lose himself in guilt and self-pity. The Hulk would use this weakness and gain complete control over Banner, resulting in never having to change back anymore. Therefore, Rick functions as Banner’s connection to humanity and as an opponent to the Hulk. Lerberg thus states that “one of the central stories . . . is Rick’s ability to control the Hulk.”5 which emphasizes Rick’s importance to the Hulk, and by extension, to the comics. This becomes clear as the only way to keep this secret and guarantee Banner a somewhat normal life is through the help of Rick Jones. But as Rick is only a teenage boy, his control over the Hulk is not long-lasting, as Capitano emphasizes: The only character able to manage the Hulk in these early issues is his sidekick, Rick Jones, who is ‘‘the only one can reason with ’im!’’ (#2 19). Over the course of the early issues, it is Jones who accompanies the Hulk on his adventures and can occasionally temper his impulses, and for a brief period in the third and fourth issues, Jones is even able to openly command the Hulk. As a teenager, Jones does seem to represent some hope for the future, when younger generations may find methods of containing atomic/Hulk-like power; however, that control is never complete and never lasting, for the Hulk always breaks free of Jones’ influence eventually. So there is no real envisionment of what such containment might entail.6

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Consequently, Rick has to develop further and reach maturity to be able to continue as Banner’s sidekick for longer. Banner is not the only one changing permanently because Rick evolves as well. After the situation on the test area, he does not only leave his reckless and thoughtless teenage life behind, but he also transforms from an orphan without any parents into Banner’s guardian. Before, he was just a poor boy, living under the radar, having no future and no ambition for that matter. He was on the brink of becoming either a criminal or disappearing completely from society. After Banner saves his life, Rick transforms. He forgets about his friends and does not hesitate to help Banner despite the inherent danger of the Hulk monster. Rick does not fear this monstrous figure. Instead, he acknowledges Dr. Banner, the courageous and selfless scientist who has saved his life, as opposed to the monster. This focus on the human part is also one reason why Rick is not like other sidekicks. He is a supporting figure but he does not support the superhero persona. Instead, he supports the human being behind the new superhero identity.7 This makes him unique in the superhero comic multiverse. When the Hulk goes wild and destroys anything in his way, Banner experiences this as if it was himself. However, Banner cannot control the Hulk and functions as a helpless and powerless observer who sees himself acting against his very own principles. Banner’s New Dual Identity and the Conflicts It Activates Banner is a scientist and works for the government since the military funds his experiments, but he despises violence and weapons. Although being a pacifist, he seems to have no choice but to cooperate with the government in order to be able to do research on Gamma rays. Moreover, he does not work on weapons based on Gamma rays, although this is the reason why the military is interested in his work in the first place. Banner is more concerned with using these kind of rays in order to help people. Thus, he is portrayed as an intellectual man who prefers brain to brawn. He is physically an able-bodied individual but still seems rather weak. His figure is slim and there are no defined muscles showing under his clothes, as is the case for example for Clark Kent’s alias Superman or Steve Rogers’ alias Captain America. Capitano also observes that “he is thin, and often shown wearing glasses and a suit, signifiers of primacy of the mind for the character.”8 As a result, the Hulk represents Banner’s absolute counterpart: muscular, hypermasculine, powerful. Despite that physical strength, the Hulk is not very intelligent making him extremely dangerous.

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This contradictory portrayal of both personas refers to “the dual concept of the repressive/the Other, in the figure of the Monster.”9 While Banner represents a pacifist, and an intellectual and highly civilized man, the Hulk embodies a creature only driven by instincts and feelings. Banner is overtaxed with this sudden shift in his own drive and motivation. He cannot master it himself and is in need for help against this monster, which takes control over him each night.10 Rick provides the assistance he needs. He does not literally fight against the Hulk, but fights for Banner to stay in control, which represents a mental fight against the Hulk. Consequently, the superpowered character is Rick’s enemy and the reason why Banner needs him. Furthermore, Rick sides against authorities. From the Hulk’s very first transformation, the military does its best to hunt him down to capture him. They judge him to be a menace even before he acts out since his bodily transformation functions as an attack on the American way of life. As a result, the Hulk never gets the opportunity to prove his goodwill by using his strength against potential enemies. Moreover, the military functions “as an antagonist for both Banner and the Hulk.”11 Its negative portrayal ostensibly criticizes the military’s attitude of shooting first and asking questions later. The first Hulk comics were published during the Cold War, right before the Cuban Missile Crisis, which contextualized this reaction. The Hulk seems to be an immense threat to the American way of life through the destruction of collective and personal property as well as questioning the military functions of science. Therefore, he must be terminated. Besides, “as the product of misguided scientific experimentation”12 the Hulk embodies negative consequences of the still praised nuclear power, as Capitano points out: The Incredible Hulk articulates the anxiety over scientific discoveries and technological devices through a narrative that literally embodies those discoveries and devices: that is, it articulates them through the body and bodily transformation of its protagonist.13

In the 1960s, the memory of the atomic bombs at the end of World War II is still fresh. Moreover, nuclear energy provides the United States with weapons without which the Cold War would have caused a major power shift in favor of the Soviet Union. Therefore, atomic power functions as both savior and global power source. Still, its reputation has changed in American society. Little by little, dangerous side effects, as well as negative results, become public and cause hostility against nuclear power. People start to become afraid of radiation and rumors of sicknesses and genetic mutations spread. The superhero comic refers to this atomic age by producing superheroes who have gained their powers due to radiation, among them the mutant group X-Men and Spider-Man who gained his powers through the bite of a

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radioactive spider. These examples show positive side effects of nuclear rays by creating heroes, who dedicate their lives to the protection of humankind. Yet, they also demonstrate the general ignorance of the superhero comic when it comes to the atomic panic that is about to spread in US society. The Hulk does not belong to these fancy superheroes, which never fail to smile while fighting a villain and show up in their neat costumes in bright colors. The Hulk, instead, looks threatening with his large body, his strong muscles, and his grim facial expression. He personifies potential negative consequences of atomic power and needs to be contained. His monstrous figure personifies society’s fear of nuclear power and therefore fulfills the monster’s function in general: “The monster’s body quite literally incorporates fear, desire, anxiety, and fantasy (ataractic or incendiary), giving them life and an uncanny independence. The monstrous body is pure culture.”14 Hence, the Hulk embodies that which the government seeks to conceal. If the public learned what radiation could unleash, its opinion toward nuclear energy and weaponry would deteriorate drastically. Containing the Monster to Contain Communism The US government cannot afford revolts toward its most effective means of weaponry against the communists. The threat of pointing nuclear weaponry toward the Soviet Union will not be as effective if the American people do not support it and risk to end atomic research by rioting and public pressure. As a result, people may never learn about the Hulk unless he can be presented as a strong weapon against the enemy. This feature of the monstrous body originates from the background of this very word: “The word monster is derived from the Latin monstrum meaning ‘portent, prodigy, monstrous creature, wicked person, monstrous act, [or] atrocity.’ Furthermore, it has its base in the verb monere, ‘to warn,’ but it also bears a striking resemblance to the Latin verb monstrare meaning ‘to show.’”15 The Hulk represents a wicked and dangerous creature that warns humanity about Gamma rays and shows potential negative outcomes. He personifies the possible threat nuclear energy may pose. Moreover, General Ross seeks to conceal this experiment from society. Nobody may know that the US government does research on Gamma rays, especially not the Soviet Union. Producing a Gamma bomb must remain a secret until it is operative and can be used as a means of exerting pressure. Furthermore, the fact that the experiment failed must be kept hidden with more urgency. The only thing that is worse than having the enemy know about one’s weapon research is having the enemy know about one’s failure in this research. This would make the US look weak, and that is unthinkable in Cold War times. The Soviet Union could use that perceived weakness as

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a powerful propaganda tool. Moreover, the US society must not know about this to remain convinced that the Soviet Union cannot threaten the United Stated and the American way of life. Keeping the impression of being strong and powerful prevents societal tumults and panic. The military wants the Hulk alive to study and possibly learn how to control him. For them, he is nothing more than an undomesticated beast with immense power which must be controlled in order to use it against potential enemies. Even if Banner cannot develop a Gamma bomb, his altered identity will strengthen the United States in the nuclear arms race. The Hulk seems to be impossible to overcome, and an army made of similar creatures could intimidate (potential) enemies. The persona inside, Dr. Banner, seems to have disappeared in the military’s eyes, as they only see the Hulk. Thus, it is not the destruction of the Hulk that appears to be the goal; instead, it is his capture, weakening his will and using him as a weapon which drives General Ross. Capitano links this with the US government’s behavior during the Cold War: “The military’s single-minded pursuit of the Hulk serves as a metaphor for the state’s institutional, military, and political efforts to control the use and dissemination of atomic power. This effort failed.”16 Consequently, just as General Ross fails to capture the Hulk, the United States fails to keep other states from developing nuclear weapons, including the Soviet Union. Moreover, General Ross does not care at all in what ways his actions may or may not hurt or influence Banner. General Ross stands in direct contrast to Rick, who primarily interacts with Banner but does not care what his actions may do to the Hulk. Being captured every night inside a dark cave cannot be in the Hulk’s best interests, but as this is the only effective way to save Banner from unpleasant results, Rick does not hesitate. Furthermore, the Hulk storyline reveals different ways of dealing with this problem since it depicts a terrifying and fascinating monster as Patterson and Burgeois argue: If the monster is both a frightening and a fascinating spectacle, any depiction of a monster in a literary text could be seen as an indication that the text is exhibiting its aesthetic and ideological features. The text itself becomes a monstrous body/sign, something to be interpreted—allowing us to map not only our fears but also our reactions to them.17

The Hulk, thus, does not only embody society’s anxieties about nuclear energy and the Cold War in general, but also possible reactions to it. Rick tries to help him and solve the problem responsibly, whereas the government only seeks to contain this catastrophe without asking further questions. This is also the reason why General Ross has no idea that the Hulk and Banner are

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the same person. As a result, he has no choice but to try and catch Mr. Hyde instead of Dr. Jekyll. Rick’s Selfless Sacrifice Meanwhile, General Ross represents not only the US government but also the society in general personified amongst others by his own daughter and Banner’s love-interest, Betty. Ross acts as the majority of people would as he is controlled by fear and naivety. His character shows that the Hulk comics offer “a method of reading cultures from the monsters they engender.”18 The Hulk’s appearance forces General Ross to react, and his reaction matches the average opinion toward a possible threat to one’s own way of life: it must be destroyed no matter what. Rick thus represents the exception. He reacts in a way not many would. As Rick exerts all his power to keep Banner, even in the Hulk’s figure, from being caught, he opposes the military. Rick ignores his own interests and risks his own integrity and life by diverting from the official view. As a result, he finally chooses to leave the trail of righteousness, as opposing one’s own military and therefore government is almost anarchical. He does not even hesitate, too. His past as reckless teenager has already paved this way but now there is no going back. Fighting against one’s own government is more critical than ignoring a “Keep-Out” sign. Rick sacrifices his own honesty for Banner and with that turns himself into a potential target. Only by acting in the shadows and keeping Banner’s secret does Rick manage to fool General Ross. Consequently, Rick changes his life completely and dedicates it to Banner, but Banner cannot reward him properly. As the Hulk takes over, he wounds Rick badly and disappears in Captain America Vol. 1 #110. The Hulk, of course, does not care about Rick, but Banner fails to overcome his monstrous alter ego and cannot help but stay in the Hulk’s mental shadow. It appears as if his second identity has taken over control of the shared body. Kinghorn analyzes the special case of this split personality and speaks of “physical continuity . . . between the body of the Hulk and the body of Bruce Banner.”19 Though both seem to share one body, he concludes that this is not enough to prove that the Hulk and Bruce are one person. Hence, as soon as the Hulk appears, Bruce seems to be gone. But even when Banner is in control, the Hulk never seems to vanish. Banner has integrated the Hulk in his own personality which finds expression in his behavior. For example, he does not allow himself to have close relationships to people out of fear of hurting them as soon as the Hulk takes over. As a result, he isolates himself completely. Consequently, Rick feels lost and alone, too. Refusing to give in, he still tries to save Banner by searching for him. In order to improve his chances of finding him, he founds the Teen Brigade, a group of teenagers who function as an

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underground network to support superheroes or solve crimes on their own. With their radio surveillance hacking into police and military scanners, they watch out for struggles of any kind which may require superpowered help. As a result, Rick steps up from his inferior status as sidekick to founding member of a secret society, acting against the government since they tape secret conversations and do not call for governmental help. Rick thus seems to gain power and independence. Instead of acting as leader, however, he spends all of his time on his search for Banner. He even founds the Avengers in order to make them help him in The Avengers Vol. 1 #1. As soon as “real” superheroes step in, they manage to locate the Hulk in the desert. Rick is once more dependent on super-heroic support. Although he controls with his Teen Brigade all sorts of communications and bugging systems, only Thor, Iron Man, Ant-Man, and the Wasp are capable of actually spotting and catching the Hulk who has gone on a rampage due to one of Loki’s tricks.20 The result is that on the one hand, Rick emancipates himself from his role as Banner’s sidekick and instead turns into the leader of the Teen Brigade which communicates with superheroes on equal terms. He accepts their superiority, but merely due to their special powers. The former automatically established hierarchy between superhero and sidekick seems to fade. On the other hand, Rick fails to emancipate himself from his supporting role by still dedicating his life to serving superheroes. He remains subordinate and inferior to those with real powers. Apparently, being an intelligent and hard-working human is not enough to save Banner from his mental captivity. Furthermore, Rick does not feel complete without Banner. The Hulk dwells in the desert where he is safe meaning Banner is safe as well. No one knew about that including the military, which is the reason for which the Hulk is left alone. Living peacefully and alone away from society keeps the Hulk calm. As a result, he does not destroy anything or hurt anyone; Banner has no reason to feel guilty or responsible for something terrible. Rick cannot know for sure that Banner is not happy with this situation. Of course, he would be happier if this incident would not have happened in the first place and there would be no Hulk. But as there is, Banner has to find a way of living with this persona inside him, and maybe staying in the desert away from his past life is not the worst way to live. Rick cannot help Banner with that but still tries to get him back where he is in danger and where he poses a threat to all around him. Hence, Rick needs to search for him. He needs Banner to have purpose in his life. As soon as he understands that he is of no help for Banner and that he cannot control the Hulk, he gives in. Instead of going back to his past life or starting anew, he looks for another superhero who might be in need of a faithful sidekick.

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Rick’s Evolution as Sidekick As it so happens, Captain America has lost Bucky not long before that. As a result, Rick switches loyalty toward Cap. From this moment on, he does not really care about Banner or the Hulk any longer which constitutes a rather drastic change regarding his loyalties. Cap functions as replacement for Rick to not feel lonely and as failure since he could not repay Banner for saving his life. Rick gives up on his life-fulfilling duty and responsibility driven by his guilt in order to switch allegiance toward another superhero to whom he might prove himself as worthy sidekick. He supports Cap and fills the empty space Bucky has left behind. Rick is, for a time, Bucky IV and even wears his costume. Rick’s initial strong bond to Banner based on his feelings of guilt starts to weaken. Thus, his short time as Banner’s sidekick has changed his personality extremely. It is not guilt anymore which drives him to help others saving the world. Apparently, this is his new purpose in life: supporting other superpowered characters who themselves do the saving instead of assisting Banner to keep the Hulk under control out of guilt and shame. It is not important which superhero he supports, as long as he or she is worthy of his loyalty. And who is better for that than Captain America? He is the ideal American soldier wearing the American Flag as costume, fighting against Hitler himself and personifying American values and ideologies. This change of allegiance results in Rick switching sides again. As Banner’s sidekick, he opposed the military in the person of General Ross, and by extension, the US government. He chose to fight authorities to help his lifesaver. Now, he is on the government’s side since Cap does not only work directly for the United States but also defends the US American identity against enemies of all sorts. Moreover, Rick rises from the shadows into the limelight. He steps out of his former underground life and as a result shares societal appreciation for his work just as Cap does. Rick turns into an outright supporter of Captain America and in extension the United States, leaving the Teen Brigade as well as his previous aversion to the military behind. His rebelling times seem to be over as Rick prefers to go back in his development by becoming a mere sidekick again. Supporting another feels more right to him, and it surely makes his life easier and provides more success stories. Interestingly, Cap embodies the ideal American partly due to his origin story: as a slight young man who was judged too weak to become a soldier in World War II, Steve Rogers volunteered for a risky experiment which turned him into Captain America.21 His strong patriotism and will to fight the Nazis were more important than being physically strong. He epitomizes American values and exemplifies that anyone, even a weakling, can become a strong and powerful superhero. For this transformation, however, Steve sacrificed

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his former life as he did not only change physically but also underwent a mental alteration. He became physically stronger as well as more intelligent and analytical. Hence, Cap is no second identity which he can choose to be. Steve Rogers and Captain America are one in the same. Rick, however, seems to gravitate toward superheroes whose private identities function as disguise and not vice versa. Rick does not support the superhero but the human behind that superhero persona. He was not the Hulk’s sidekick; instead, he was Banner’s sidekick. With Cap, he does not even have to make that distinction as both Steve Rogers and Captain America are the same person. This reality makes Rick’s life much easier since there is no internal enemy to fight. Fighting the Hulk always meant fighting Banner, too. The conflict of this double identity has never been solved. Alongside Cap, the enemy opposes him. From Sidekick to Superhero—Gaining or Losing Power? After Rick and Cap have parted, Rick supports Mar-Vell, who includes two characters in one body as well. Just as Steve and Cap are one and the same, Captain Mar-Vell and Dr. Walter Lawson are one person. Mar-Vell is a Kree, an alien species sent to Earth to infiltrate it. He learns, however, that this was not on his leaders’ orders but instead due to his personal adversary Yon-Rogg’s orders. Mar-Vell then switches allegiance and fights for the humans. After Yon-Rogg kills the real Dr. Lawson, who happens to look just like Mar-Vell, the latter decided to take his identity as disguise to live on Earth.22 Thus Captain Mar-Vell does not really change between identities as Banner and the Hulk do, but he does personify both at the same time. Therefore, Rick does not have to decide which of the two he likes to support. By working for Dr. Lawson, Rick automatically works for Mar-Vell. It seems as if Rick needs the human cover to be able to function as a superhero’s supporter. This prioritizes the human part instead of the more powerful superhero identity. The human part gets even more important when Rick evolves into a superhero as well. Although this sounds contradictory, Rick’s evolution into a superpowered being puts even more emphasis on his human identity. In the storyline of the Kree-Skrull War, which occupies two comics (September and October 1983) with each about sixty-five pages,23 two alien species, the Kree and the Skrulls, move their centuries-old quarrel to Earth as Mar-Vell dwells there at the time.24 As the story begins, Rick has served Mar-Vell for quite a long time. They have bonded in the sense that they share molecules. This means that they can alternate between two spaces as their bodies are connected across space. In order to do so, they use a special portal designed by Reed Richards, aka Mister Fantastic. Rick is located on Earth whereas Mar-Vell is in the so-called Negative Zone, an antimatter universe. Spending time there must be temporary as it gives off lethal radiation.

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Mar-Vell, however, cannot leave by choice since he is trapped there. His only way of leaving this deadly atmosphere is by switching molecules with Rick from time to time. As a result, Rick suffers from the radiation and thereby saves Mar-Vell’s life which functions as retell of Banner saving Rick’s life during the Gamma ray experiment. This switching of places in the Negative Zone goes on for weeks until Mar-Vell manages to free himself from his trap. As a consequence, Rick takes up his place in the deathly realm permanently. Once again, Rick sacrifices himself for the superhero as his death seems to be inexorable. Mar-Vell, however, does not leave Rick there to die but tries to rescue him by cutting off their molecular connection. Meanwhile, the war continues and other monsters use the portal between the Negative Zone and Earth to slip through. Mar-Vell and members of the Avengers fight them off, while Rick still dwells in the contaminated space. In the end, in a team effort and with the help of the so-called Supreme Intelligence, an artificial intelligence and ruler of the Krees, and therefore Mar-Vell’s leader, they manage to free Rick before he dies of radiation. This experience, though, changes him permanently. He develops certain powers and therefore evolves into a superpowered being just as any other superhero. With that, he joins the Marvel Silver Age superhero tradition of gaining one’s powers through some kind of radiation contamination, just like Spider-Man, The Fantastic Four, and the Hulk amongst others. Apparently, Rick had some hidden mental powers inside him all the time, which this Supreme Intelligence unleashes by saving him. He tells him how to use it and what to do. Thus, Rick has to concentrate on his thoughts as his newfound mind control can bring them to life. The Supreme Intelligence advises him to think of his childhood heroes. Rick instantaneously thinks of all the superhero comics he has loved as a child.25 As a result, he summons Golden Age superheroes who appear magically before him. Captain America, the Human Torch, and Namor the Submariner, amongst others, form an alliance to fight the Skrulls. By that, Rick ends this centuries-old war and proves his power. This is the only moment in which Rick is the only one to save the day and it is exactly then that he leaves his humanity behind—or so it appears. It is his status as a human, however, which enables him to develop these powers in the first place. The Supreme Intelligence implies that by only calling him “boy of Earth.”26 Rick evolves fast and produces “a shimmering bolt of incredible brilliance,” which shines through Mar-Vell. Quicksilver, also participating in this war, explains that Rick is using Mar-Vell as means for getting his energy beam to them as they are in the middle of a fight against Skrulls which they seem to lose. “And Captain Marvel seems as petrified as they [the Skrulls]. As if he were merely transmitter of the light-energy—and not its true source at all.”27 Thus, the superhero functions here as the (former) sidekick’s supporter. Rick uses Mar-Vell just like a tool.

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By that, they manage to free the still captured members of the Avengers by paralyzing their Skrull guards. Rick, however, fails to take over control. The Supreme Intelligence makes him experience certain actions such as showing him who really banished the Avengers from Earth, namely a Skrull in disguise of a human. He manipulates Rick to fight him and re-establish the Avengers as Earth’s superhero team. Rick functions as the Kree leader’s marionette. In fact, the Supreme Intelligence would have preferred to influence the minds of either a Skrull or a Kree leader, but since he was too weak for that, he chose a simpler mind for his manipulations. He reveals that Rick’s newfound power is indeed not his own and that “Any Earthman could’ve been stimulated to do”28 just what Rick did. As a result, Rick is no super-human with special powers. He is just a human, used as conduit for using these powers. Nevertheless, it is his humanity which enabled him to develop them. Being human is the basic requirement for the Supreme Intelligence to unleash this mind control in Rick. Instead of becoming a superhero himself, it turns out that Rick rather evolves into a marionette. The Supreme Intelligence uses him as a tool to perform his own will, which causes a further degradation in Rick. As sidekick, he chose to support the hero, was self-controlled and free in his actions, despite being dependent on the hero. In this scenario, however, he is manipulated and even acts with powers that are not his own. He does not accept the responsibility of a powered being, but instead gives up a majority of his own identity. He slides down in the hierarchy of the superhero narrative. At its peak, there is the superhero followed by his sidekick. Rick, who used to be in the secondary position, stepped up for a moment by gaining superpowers, but now slides even further down than before. He deteriorates from a self-controlled sidekick into an externally controlled and functional puppet. Furthermore, he cannot even keep his powers. He returns to being a mere human being who has dedicated his life to supporting others. Afterwards, as soon as the molecular connection between him and Mar-Vell is finally cut, Rick decides to go back to his roots and teams up with the Hulk again. This whole experience of having superpowers of his own and fighting in the first row was too much for the still teenage boy who is overwhelmed by so much responsibility. Hence, he feels more comfortable when working for others so that the role as sidekick is his real destiny. Moreover, he does not only support the superhero, but he also makes it his duty to keep him human. CONCLUDING THOUGHTS Furthermore, Rick functions as an identification figure for young readers who do not see themselves as mighty superheroes. There are also kids who, even in their imagination, prefer to stay in the shadows of the real heroes, but still

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contribute to doing good. Rick offers them an alternative to changing into some superpowered being and leaving everything else behind. Rather, he shows that humanity is the most important feature one can have. Even naive little boys just like Rick can evolve into someone who is crucial for saving the world and still stay imperfect and therefore human. Besides, he “simultaneously represents the concerns and hopes [that] were being expressed about in the rising generation of adolescents in the early 1960s.”29 Rick personifies the younger generation born into the Cold War and struggling to deal with this political situation. His way of dealing with it conveys hope and gives them a sense of being important and useful. He also emphasizes that it is his human part which turns him into a heroic sidekick. Ultimately, he personifies what he always fought for the most: the human in the superhero. As a hybrid figure, Rick recalls the superhero’s true mission: saving humankind. Superheroes do what they do to keep humanity save from all kinds of threats, whether they be alien or not. Saving people is their motivation as well as their reason for existing. Rick does not only save the Earth by his actions, but he also saved his own humanity by returning to his sidekick status. Had he tried to keep his powers, he might have transformed into another being just as most superheroes have done in their origin stories. Rick, however, decided to remain Rick Jones, a young and reckless boy who supports the human part of superheroes, like Bruce Banner or Steve Rogers. Thus, he embodies the ethics and morals according to which all superheroes should act, namely that humanity should be above everything. Finally, Rick struggles for emancipation and, by failing, he discovers his even more important role: saving the humanity inside the superhero. NOTES 1. Stan Lee et al., The Incredible Hulk Vol.1 #1 (New York: Marvel, 1962), 3. 2. The name Igor also is a direct reference to many Horror stories, in which Igor functions as assistant to the villain, as the Frankenstein or Dracula narratives. 3. Stan Lee et al., The Incredible Hulk Vol.1 #2 (New York: Marvel, 1962), 6. 4. The unauthorized entering the test area for Banner’s gamma bomb was one of these instances in which Rick and his friends risked their lives for a bit of fun, which shows the hopelessness and dreariness of Rick’s former life. 5. Justin Lerberg, “Becoming Nature’s ‘Monster’: How the Gamma Bomb Reterritorializes the Human World,” in The Ages of the Incredible Hulk: Essays on the Green Goliath in Changing Times, ed. Joseph J. Darowski (Jefferson, NC: McFarland & Company, 2016), 33. 6. Adam Capitano, “The Jekyll and Hyde of the Atomic Age: The Incredible Hulk as the Ambiguous Embodiment of Nuclear Power,” The Journal of Popular Culture 43, no. 2 (2010), 260.

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7. This results also from the fact that the Hulk does not resemble a superhero on first sight. He reminds the viewer more of a monster, which makes it difficult to identify him as heroic character. Consequently, his human part is more sympathetic and likeable than his newfound identity. 8. Capitano, “Jekyll and Hyde,” 256. 9. Marina Levina and Diem-My T. Bui, “Toward a comprehensive monster theory in the 21st century,” in Monster Culture in the 21st Century: A Reader, ed. Marina Levina and Diem-My T. Bui (London: Bloomsbury, 2013), 4. 10. In the first issues, Banner only transforms each night. Later on, the Hulk takes over each time Banner turns angry or is upset. 11. John Darowski and Joseph J. Darowski, “Smashing Cold War Consensus Culture: Hulk’s Journey from Monster to Hero,” in The Ages of the Incredible Hulk: Essays on the Green Goliath in Changing Times, ed. Joseph J. Darowski (Jefferson: McFarland & Company, 2016), 12. 12. Capitano, “Jekyll and Hyde,” 258. 13. Capitano, “Jekyll and Hyde,” 252. 14. Jeffrey Jerome Cohen, “Monster Culture (Seven Theses),” in Monster Theory, ed. Jeffrey Jerome Cohen (Minneapolis: University of Minnesota Press, 1996), 4. 15. Kristen D. Wright, “Introduction,” in Disgust and Desire: The Paradox of the Monster, ed. Kristen Wright (Leiden: Brill Rodopi, 2018), vii. 16. Capitano, “Jekyll and Hyde,” 260. 17. Jade Patterson and Bertrand Burgeois, “Enduring Monsters: (Em)bracing a Diachronic Storm of Monstrosities,” AJFS 55, no. 2 (2018), 120. 18. Cohen, “Monster Culture,” 3. 19. Kevin Kinghorn, “Questions of Identity: Is the Hulk the Same Person as Bruce Banner,” in Superheroes and Philosophy, ed. Thomas V. Morris (Chicago: Open Court, 2005), 226. 20. Although Rick contacted the Fantastic Four, it was also Loki’s doing that Thor got the message. Loki wanted to make his stepbrother and nemesis fight the Hulk as he thought the latter would be the winner. That the other three superheroes of the Avengers also received the call for help was not exactly planned. 21. Joe Simon et al., Captain America Comics Vol.1 #1 (New York: Marvel, 1940), 4–5. 22. He is reminiscent of Superman, who is an alien too, and uses the identity of Clark Kent for his private persona. 23. It was originally published in The Avengers #89–97 (1971–1972). 24. As the plot of this narration is rather complicated, the focus lies in the following only on the facts relevant for Rick and his development. 25. This metacognitive situation is rather typical for Marvel comics. Reading superhero comics inspires many characters in the superhero multiverse, for example Johnny Storm aka the Human Torch of the Fantastic Four reading about Namor, the Submariner, and then helping him remember; or Kamala Khan, the current Ms. Marvel, reading about her predecessors and deciding to embrace her new powers. 26. Stan Lee et al., The Kree-Skrull-War Vol. 1 #2 (New York: Marvel, 1983), 54.

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27. Lee, The Kree-Skrull-War Vol. 1 #2, 55. 28. Lee, The Kree-Skrull-War Vol. 1 #2, 60. 29. Darowski and Darowski, “Smashing Cold War Consensus Culture,” 14.

Chapter 12

Agent Margaret “Peggy” Carter Captain America’s Moral Compass Christopher Jeansonne

In the Marvel Cinematic Universe (MCU)—the culturally ubiquitous transmedial franchise that spans theatrical films and television series—the character of Agent Margaret “Peggy” Carter was first introduced as a prominent supporting character to its iteration of one of Marvel Comics’ key figures, Steve Rogers, a.k.a. Captain America. This chapter will argue that it is to the MCU franchise’s credit that it doesn’t reduce Peggy to simply Steve’s girlfriend, his muse, or (heaven forbid) a damsel in distress—as she had been in the comics. On the contrary, the MCU films and the eponymous Marvel’s Agent Carter TV series (2015–2016)1 transformed her from the shadow of a persona she had been on the page into one of the more well-rounded characters in the Marvel motion pictures pantheon. In the theatrical MCU films, Peggy serves as a support to Captain America, but she doesn’t do so through silence or acquiescence. While nominally positioned in a supporting role, she is no simple sidekick: She is both a mentor and a co-combatant, a colleague, a friend, and, eventually, a love interest (one on equal terms with him). She shapes Captain America more deeply than any of his other allies, and it is only because she exhibits heroic qualities that are equal to or even outshine his own that Steve becomes a greater hero than he could ever have become without her influence. If Emmanuel Levinas would suggest that it is only in standing in relation to another self-possessed agent that an interrogating subject can attain its sense of self,2 then in the fictional MCU it is only because she is possessed of her own agency (literal and figurative) that Peggy is able to act as Steve’s model for fortitude of character, and as his moral compass. 169

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BACKGROUND Captain America: The Heart of the Marvel Cinematic Universe Captain America has been an important legacy character in superhero narratives since his inception in 1941, in the Timely Comics Captain America Comics #1.3 That comic’s narrative tells the story of Steve Rogers, a bighearted and courageous but physically weak young man who is injected with an experimental super soldier serum that transforms him into the epitome of human physical perfection. The unambiguously-named Captain America is presented as the personification of the U.S. war effort, famously socking Hitler on the jaw on the cover of that first issue. Captain America served as a “monomyth,” and an “archetype for heroic action”4 in that he was the spiritual avatar of the young GIs being sent off to Europe; they too might have felt inadequate to the task of war, and his example was designed to inspire them. There have been numerous iterations of the hero since then—primarily in Marvel comics, for which Timely Comics was a precursor—and Cap’s popularity and importance has waxed and waned. He has died (or seemed to) several times, and been resurrected in numerous ways. Despite his jingoistic beginnings, however, in his later years he has often been the Marvel legacy character most willing to stand up to governmental authority, such as in the Marvel Civil War cross-over series from 2006–2007,5 in which Captain America becomes the fugitive leader of an underground resistance movement fighting against a “Superhero Registration Act”—a plotline that served as a thinly veiled engagement with questions of increased surveillance in a post9/11 world. The version of Steve Rogers/Captain America that most contemporary audiences are familiar with is that of the “Marvel Cinematic Universe” (MCU) franchise, where Steve first appeared in the origin story film Captain America: The First Avenger (2011).6 As in the comics, he was a product of World War II, an asthmatic 4F reject who is injected with a super soldier serum developed by Abraham Erskine (in the cinematic version he is also bathed in “Vita Rays” by Howard Stark, who would later become the father of Tony Stark, a.k.a. Iron Man), giving him superhuman strength, agility, and durability. He helps to turn the tide of the war, and prevents the villainous Red Skull and his HYDRA organization from killing millions of innocents, but in the climax of that first film he ends up frozen in the ice for over fifty years. In The First Avenger’s epilogue, he awakens to find himself in a twenty-first century New York, with the world of his friends and family long gone. This allows him to step into the world of The Avengers cinematic franchise as an anachronistic personification of a “simpler time” when good and evil were

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more clearly delineated, at least in this romanticized version of the past. As McCrisken and Pepper note, “More than any other event in American history, including the revolution, World War II has been mythologized and held up as an example of a golden age that showcased America’s national strength, collective courage, idealism, and other desirable traits”;7 Steve Rogers serves as an embodiment of those traits. But although the MCU’s Steve is a paragon of moral fortitude, he is similar to the Captain America of the later comics in that he is willing to question whether or not the “powers that be” are acting in the interest of good. In Captain America: The Winter Soldier,8 he exposes the infiltration by Hydra agents of the government run quasi-military S.H.I.E.L.D. (Strategic Homeland Intervention, Enforcement, and Logistics Division) organization that he has worked with since his unfreezing. Perhaps even more tellingly, he points out the unintended betrayal of the organization’s ideals perpetrated by even its seemingly most loyal and benevolent-minded members—such as S.H.I.E.L.D.’s director, Nick Fury—who are willing to use satellites to secretly surveil the world’s citizens, surreptitiously sacrificing people’s freedom in the name of perceived security. In Captain America: Civil War,9 in a similar plotline to the Civil War comics, after a deadly incident involving civilian casualties, Steve defies a governmental order to put superhumans under United Nations supervision, saying “If we sign this, we surrender our right to choose.” As a result of this choice, he is on the run from authorities during the majority of the Phase 3 Marvel Cinematic Universe films (2016–2019). Surreptitiously, of course, Steve still works to save a thankless world, because he is resolute in doing what he feels is right even when it goes unrecognized. It is also important to note that, while he is perhaps the most morally stalwart of the Avengers, in a world of immensely powerful superheroes Captain America is notoriously underpowered. In the comics, he is the epitome of physical perfection and conditioning, but he is still human in his capabilities. In the Marvel Cinematic Universe, he is imbued with superhuman strength and agility, but Captain America is nowhere near as powerful as many of his allies or adversaries. In his more jingoistic early comics incarnation that “humanness” allowed for strong identification dynamics with a readership of Americans on the brink of joining the war—that is, readers could think to themselves, “if only we can be our best versions of ourselves, then we could sock Hitler on the jaw too.” In his more independent-minded later incarnations his willingness to “do what is right no matter the cost” is all-the-more admirable because he was faced with seemingly insurmountable odds. In The First Avenger, on the eve of the procedure that will transform him into a super soldier, during a conversation with the scientist Erskine, Steve asks why he was chosen among all of the applicants. Erskine tells him that

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“The serum amplifies what is inside the man,”10 explaining that it is inner goodness that is more important. When they had first met, Erskine had asked Steve, “So you want to go kill Nazis, is that it?” but rather than a zealous endorsement of military violence, Steve had replied, “I don’t like bullies, no matter where they’re from.”11 As Mills puts it, “Erskine is drawn to Steve because he is selfless, determined, honest, courageous, and considerate of the weak.”12 For Erskine, Steve’s experience as the frail young target of bullying, coupled with his willingness to stand up to them despite his inferior strength, make him an ideal candidate for the serum. Erskine elaborates, “Because the strong man who has known power all his life may lose respect for that power, but a weak man knows the value of strength, and knows compassion. Whatever happens tomorrow, you must promise me one thing: that you will stay who you are––not a perfect soldier, but a good man.”13 However, while Steve Rogers is portrayed as having an innate goodness to his character, he would never have become Captain America without the allies that molded and aided him: Erskine developed the serum that would give him physical abilities commensurate with his inner self; childhood friend Bucky Barnes afforded him with a sense of community, love, and friendship, and becomes his “right-hand” for a good portion of World War II; Howard Stark provides him with technological and monetary support. Of all of his allies, though, it is Agent Margaret Carter (aka “Peggy,” aka “Maggie”) that is perhaps most central to facilitating his fruition as not just a hero, but as the most morally grounded of all the heroes and as the “heart” of the team. More than anyone else, it is Agent Carter that guides him toward becoming both stalwart and empathetic at the same time. Peggy Carter as Cap’s True North Toward the end of Captain America: The First Avenger, Steve is about to sacrifice his life in order to save the world by piloting a massive bomb-laden airship into the arctic ice. He could save himself by abandoning the plane, but innumerable innocents would die as a result. On the instrument panel, he sets a miniature cut-out portrait of Peggy affixed to the inside lid of a portable compass he carries with him throughout much of the film. He looks to Peggy’s face for guidance and direction, literally and figuratively finding his orientation through her image. This could be one of the most overt metaphors in the Marvel Cinematic Universe (the MCU): That of Peggy Carter as the moral and emotional compass of Steve Rogers, as his “true north.”14 Steve is on the radio with Peggy, who is also sitting at a bank of instruments and panels—though thousands of miles away. When Steve glances at the radar to relate his position, the plane’s course is rendered as a triangle and a line. In a match cut we see the plane from above, the aircraft itself

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shaped like an arrowhead with streams of white trailing behind it. Both of these images form the same shape as that of the north-pointing compass needle. Over the image of the plane, he calls to her, “Peggy . . . ”—pausing to give the audience time to align the visual compass metaphors with her name—and then he avows, “ . . . this is my choice.” The compulsion toward heroic self-sacrifice has become internalized as a true north for him, and—as we will see—it is Peggy that has inexorably pointed him towards that true north throughout the film. Her voice accompanies him as the plane plummets downward, and he finds solace and strength in those last moments as they talk of plans for a date the following week—a rendezvous they both know they won’t be able to keep. He says “I still don’t know how to dance,” and she reassures him, “I’ll show you.”15 At every step, then, Peggy has been his lead, not his follower, and she promises that she will do so in a future that they know will not come. She is an unflappable—but resolutely human—embodiment of moral strength, and it is her voice that guides him and consoles him in his moments of greatest vulnerability. There is a sense in which, through the above reading of the scene, Peggy could be said to have been reduced to the motivation for Steve, or that she becomes less of a character in her own right and more of an accessory to the protagonist. In superhero narratives there is most certainly a long history of female sidekicks and love interests being reduced to little more than emotional motivators for the male protagonists. Gail Simone’s notion of the “women in refrigerators”—referring to female characters that are killed off in superhero narrative purely to provide motivations for a male superhero’s story arc—are the most egregious examples of this.16 However, ironically in this case, it is Steve that quite literally gets put on ice, only to later become Peggy’s inspiration, and her muse, when she gets her own show. In the majority of the MCU franchise’s products—with the possible exception of Avengers: Endgame,17 which will be singled out later—Peggy is a nuanced and multifaceted character. She is arguably one of the most influential characters in the world of the MCU: Along with Howard Stark, she co-founded the global agency S.H.I.E.L.D., so without her there would have been no Avengers; she had, in fact, saved Howard Stark’s life, so without Peggy there would have been no Tony Stark; she convinced Hank Pym to become Ant-Man. While much of what she does gets only passing reference in the narratives of those films, fans in the know realize that she is one of the lynchpins of this superhero universe, even though she possesses no superpowers of her own. What she does possess is hard-won clarity of purpose, moral certitude (even in the face of loss) and an indomitable vision of her self-worth (despite constantly being doubted by others), combined with an ability to empathize with the positions of others. The coupling of those last two qualities—stalwartness and empathy—is seldom present in the same

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heroic character, and this points to why she is so important to the pantheon and so important to Steve’s transformation into Captain America. From Girlfriend to Mentor: Peggy’s Transition from Comics to Screen In the world of Marvel Comics, Peggy had been a minor character, originally unnamed, appearing as a love interest to Captain America in scenes of Tales of Suspense #7718 as part of his Silver Age comics reimagining. Some would suggest that she had had an initial appearance in the 1941 Captain America #1, as the agent X-13, disguising herself as an older woman and serving as a gatekeeper; in that appearance, though, it’s not clear that it’s the same character.19 Later, in Captain America #161–162 she is finally named, and we learn that she had briefly fought alongside and been romantically involved with Captain America during World War II. In a relatively convoluted flashback storyline, we learn that she had been captured and kidnapped, and had developed amnesia and lost her identity due to an exploding shell. In later pre-MCU comics, she eventually becomes a S.H.I.E.L.D. agent and appears here and there as a part of Steve’s entourage, but her existence serves only to accent Steve Rogers’ story.20 IMPORTANCE OF THE SIDEKICK While she had been largely forgotten in the comics, she was completely reimagined for Captain America: The First Avenger. She is repositioned as a British agent working with the Strategic Scientific Reserve, or S.S.R. (a predecessor to S.H.I.E.L.D.), and as the person who “supervise[s] all operations” for the division in charge of the super soldier program. In the training camp where recruits are being assessed, Peggy is taken more seriously than Steve by most of her military colleagues due to her confidence, her toughness, and her physical fighting prowess. In her introductory scene she demonstrates that she is capable of laying low the male-chauvinist stereotypes of her era: A young American soldier disrespectfully flirts with her, mocking her accent by calling her “Queen Victoria” and then winkingly telling her that he’s “got some moves that I know you’ll like.”21 She orders him to step forward, and knocks him out with a single punch to the jaw as Steve looks on. Witnessing her nonchalant clobbering of the recruit’s sexual harassment, Steve smiles at her unwillingness to be bullied; it is clear that part of why Steve immediately falls for her is because she is underestimated, as he has been, and she is unafraid to forcefully realign those misconceptions. During a car ride through a Brooklyn neighborhood on their way to the procedure

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that will endow him with a hypermasculine body, Steve points out several places where he had been bullied. When Peggy asks why he never ran, he replies “You start running, they’ll never let you stop. You stand up, you push back . . . they can’t say no forever, right?” She alludes to her own position in a male-dominated military, telling Steve, “I know a little of what that’s like, to have every door shut in your face.”22 There is a degree of commiseration in her voice, but she is also calling on him to recognize the privilege that men expect in her world—she struggles against a patriarchy that is unwilling to recognize her contributions. Even after he is transformed into the walking, muscular symbol of the war effort, Peggy reprimands him for not living up to his potential. She finds Steve at a USO show, where he has been assigned as a performer to entertain the troops. He is sitting alone backstage, drawing a picture of himself as a monkey holding a shield and an umbrella, riding a unicycle for an audience of clowns. She chides him, saying that he was “meant for more than this.” He replies that he’s been told that he can either do the USO performances or be “stuck in a lab” undergoing tests. Peggy asks “And these are your only two options? A lab rat or a dancing monkey?”23—asking him to consider whether he will let himself be defined by others or take the initiative to do so himself. (This moment must have been memorable for him, because in Captain America: Civil War during a scene in his office in the Avengers’ tower— diagetically set six decades later—we can see the same performing-monkey drawing on his desk in the background.)24 Peggy informs him that the 107th battalion, in which Steve’s friend Bucky serves, was captured and is now behind enemy lines. This prompts Steve to suggest a rescue mission to Colonel Phillips, the commanding officer, who scolds him, “We’d lose more men than we’d save. But I don’t expect you to understand that because you’re a chorus girl.” Steve resolves to sneak behind enemy lines to try to save the soldiers anyway. Looking for reassurance that he’s making the right choice, he asks Peggy “[When] you told me you thought I was meant for more than this, did you mean it?” She replies, “Every word.” Her approval is crucial to his resolve. “Then you have to let me go,” he says, to which she answers, “I can do more than that.”25 In the following scene, we find that she has enlisted a plane, and the help of Howard Stark as a pilot, in order to help him in his unsanctioned incursion. This is the key moment when he takes his first steps on the path toward becoming a superhero, and without Peggy there to chide him, to guide him, and to support him, it likely never would have happened. Captain America is successful in his rescue mission, and even the Colonel Phillips becomes a believer. Later, as Peggy and the colonel are watching newsreels of Steve planning a mission in his new role as the leader of a commando unit, they note that he carries the portrait of her in the lid of the

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compass he places on the map (the same one as in the climactic scene)— another evocation of the Peggy-as-true-north motif. After Bucky Barnes is lost and apparently killed during a mission against Hydra, Steve goes to a bombed-out bar to drown his sorrows. Ironically, he finds that he can’t get drunk because his new metabolism processes the alcohol as fast as he can drink it—another small measure of the ways in which he might lose his “humanness” if it weren’t for the connection he has with his allies. Peggy finds him there crying, and consoles him. Steve believes Bucky’s death was his own fault, but Peggy rhetorically asks him “Did you believe in your friend? Did you respect him? Then stop blaming yourself. Allow Barnes the dignity of his choice. He must have damn well thought you were worth it.” What is crucial here is that Peggy doesn’t consider whether or not Steve’s abilities were up to the task of protecting Barnes, but rather emphasizes the sanctity of Barnes’ ability to choose his own path. Grief stricken and resolute in his desire for justice, Steve says, “I’m not going stop until all of Hydra is dead or captured,” and Peggy answers that “You won’t be alone.”26 On the one hand this can be taken as a reminder that he will need support and allyship in achieving his goals, but on the other hand it is an admonition that his grief and loss are something that others share. Thus at every crucial decision-making moment of Captain America: The First Avenger, Peggy is the consummate ally: Not because she fawns over him, but because she holds him to high expectations and challenges him to rise to them when he hasn’t; not because she coddles him emotionally but because she empathizes with him as a fellow soldier; not because she idolizes him but because she is able to listen to him thoughtfully while he processes those emotions; not because she cedes responsibility of protecting the world to him but because she reminds him that the sanctity of others’ agency is what he’s fighting for in the first place. When he starts to feel alone or to feel sorry for himself, or to brood over the weight of the world on his shoulders, she admonishes him that he is not only fighting for others but fighting with them. Peggy continually reminds him that it is his shared humanity—not his superhuman-ness—that is worth defending. “Still Changing My Life”: Peggy’s Legacy in the MCU Films In later MCU films, even after Captain America had been thawed from the ice, Peggy continues to influence Steve’s choices. She does so as a reminder that our past is still with us, indirectly and explicitly, but she also does so as the embodiment of an ideal. In Captain America: The Winter Soldier, when he is unsure of his direction, Steve visits a museum exhibit dedicated to his role in World War II, searching for the resolve that he once felt. He watches

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a film clip of Peggy recounting how “[Steve] saved over a thousand men, including the man who would eventually become my husband, as it turned out. Even after he died, Steve was still changing my life.”27 The irony here is that as he watches this, he takes out the compass with her portrait in it and looks at it. At a moment of indecision, he has again come to Peggy for direction; in this scene, it is clearly she that’s still changing his life, rather than the other way around. Even in this film, she is not relegated to being an image or a ghost of the past. From the above scene we cut directly to Steve visiting Peggy at her bedside—she is still alive, though frail and venerable. When he glances at her family pictures and comments on the life that she’s led, Peggy laments “My only regret is that you didn’t get to live yours.” Steve tells her that he’s not sure whether or not he can serve S.H.I.E.L.D. any longer. She reminds him not to live in the past, saying “The world has changed, and none of us can go back. All we can do is our best. And sometimes the best that we can do is start over.” Peggy starts to cough heavily. Steve rises to grab a glass of water for her, then returns to the bedside. When Peggy looks at him again, her eyes widen as if seeing him for the first time. “Steve!” she suddenly exclaims, “You’re alive. You came back. It’s been so long. So long.” Steve doesn’t react to her lapse in memory, which suggests that she suffers from dementia or memory loss. He smiles and replies, “Well, I couldn’t leave my best girl. Not when she owes me a dance.”28 This moment is as filled with pathos as any in a Marvel film. She is an aching reminder of his past—both a person and a past that is slipping away from him—but she is also one of the few living people that can insightfully and empathetically comment on his current situation. She is a liminal figure; she struggles to live in the present, but she is always on the verge of relapsing into a moment of revelation at his return. The poignancy of her suggestion to “start over” is doubly cutting, because it is a moment filled with “nostalgia” (in its true etymological sense of the “pain of homecoming”) in that she is released from the grief of his loss but simultaneously regrets the life that cannot be reclaimed—a life that they might have spent together. It is despite this spiritual pain, or perhaps because of it, that Steve’s moral resolve becomes even stronger in Peggy’s presence. Finally, even after her death Peggy guides Steve with her wisdom. In Captain America: Civil War, Steve is wrestling with the decision of whether or not to sign the “Sokovia Accords,” which would dictate that all “enhanced individuals” should be registered with the United Nations and be under its supervision. As Steve is debating the accords with his fellow Avengers, he gets a text that Peggy has died. At the service, he learns that his current confidant and potential love interest Sharon is actually Sharon Carter, Peggy’s niece—another way in which the past, and Peggy, are still present (and here, it’s perhaps a bit romantically awkward). Sharon, who gives the eulogy at

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Peggy’s funeral service, recounts, “I asked her how it was possible to master diplomacy and espionage at a time when no one wanted to see a woman succeed at either. She said, ‘Compromise where you can. But where you can’t, don’t. Even if everyone is telling you that something wrong is something right, even if the whole world is telling you to move, it is your duty to plant yourself like a tree, look them in the eye, and say ‘No, you move.’”29 Speaking from beyond the grave, Peggy’s words comment directly on Steve’s situation: A majority of his teammates, and all of his superiors in the civilian and military organizations that he seeks to serve, are telling him that he should sign the Sokovia Accords, but he feels that it isn’t right. Through words she had spoken years before, in a totally different context, Peggy’s advice continues to give him the strength of his convictions. Anachronistic Heroism and Steve’s Memory: Agent Carter Comes Into Her Own . . . Series For fans of her eponymous show Marvel’s Agent Carter (2015–2016),30 the dialogue from the above scene reflects Peggy’s own personal story as much as it provides Steve with guidance. Within the web of interconnected narrative products of MCU, wherein “the franchise, the existing model of multi-installment narrative, has become subsumed into a larger conglomerate storytelling entity, the shared universe,”31 we can consider how the portrayals of characters such as Peggy and Steve resonate across those properties. Peggy’s development in the show elucidates how she functions as an independent persona, and the iconic positioning of Captain America within her show can serve to further orient our understanding of the nature of his heroism. Across two seasons of Marvel’s Agent Carter, encompassing a total of eighteen episodes, we follow Peggy’s life as an underestimated and underappreciated woman in the patriarchal and chauvinistic post-World War II offices of the Strategic Scientific Reserve (SSR). Peggy’s position is rooted in historically accurate frustrations of the time; women who had taken on positions of responsibility during wartime and achieved a degree of independence were forced to subordinate themselves to returning male soldiers. In the opening episode, her roommate Rose laments that every time a GI comes home, another woman loses her job at the factory. “I had to show a guy from Canarsie how to use a rivet gun,” she says, in a sly allusion to the cultural icon “Rosie the Rivetter” of “We Can Do It!” fame.32 The show’s storylines revolve around Peggy not just saving New York, but simultaneously establishing herself within a patriarchal order and questioning that patriarchy’s validity. Stated succinctly by one reviewer, “Despite her clout during the war, she’s now the sole female agent in her office and is treated as a secretary.”33 Peggy still nominally has her job, but she has been officially relegated from

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machine guns to coffee machines. Behind the scenes she works covertly saving the world, even as that world wants to frame her as being unable to protect herself. The audience both revels in her heroism, and empathizes with her resentment of the patriarchal order that denies her credit. Peggy is clearly the hero in her show, breaking with the dynamics of the larger diagetic world firmly ensconced in the patriarchy. Conversely, key male characters in Agent Carter are often portrayed in ways typically reserved for female characters in superhero and action genres, particularly a show set in post–World War II America. The clearest example is Jarvis, who first appears in a subservient role as the billionaire Howard Stark’s butler. Jarvis is often shown in the role of homemaker. When Peggy calls him on the phone searching for information on how to diffuse a bomb, Jarvis wears an apron and frets that he might ruin his wife Anna’s soufflé. He performs Peggy’s chores and errands, and accompanies her on adventures with the glee of a schoolboy, becoming something of an amalgam of Batman’s Alfred and Robin. While he lends a hand to Peggy in combat, he just as often needs Peggy’s protection, and constantly frets of the danger they might find themselves in. Several times in the show, after punching a minion he winces and rubs his wrist—a gesture often reserved for females or “effeminate” men in action media. Likewise, Howard Stark (Tony Stark/Iron Man’s eventual father) is portrayed as a billionaire playboy, a blatantly woman-objectifying chauvinist and, as Peggy points out, “a complete wanker”34 in his self-satisfied seduction of women, but he is also often depicted as a damsel in distress, unable to save himself without Agent Carter coming to the rescue. In fight scenes he is even more in need of saving than Jarvis, and is often told to “stay out of it” because being in the fray would be too dangerous for him. Within these myriad gender-role-shifting portrayals, even the image of Captain America becomes positioned as the “lost love”—her “lost Lenore,” if you will. In the Captain America: The First Avenger film, he had been a sexual and moral innocent (like many “lost Lenores” before him), and Peggy had been positioned as the more world-savvy of the couple. It is significant that the photo of him that Peggy carries in a locket—and uses in narratively parallel ways to Steve’s compass—is of scrawny pre-serum Steve Rogers. The image and object of her adoration is one that is diminutive and frail, rather than the brawny action hero he becomes. His memory inspires her, but not as a mentor or as a guide; she is sure of herself and her direction, and she has no need of that from him. In her flashbacks remembering him, she doesn’t draw inspiration for new strategies to defeat the villains, but rather draws moral inspiration and emotional strength from memories of his purity. Toward the end of the first season of Agent Carter, Peggy discovers that certain organizations would like to profit from research on Steve Roger’s blood by attempting to recreate the super soldier serum. She protects his legacy

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by quietly pouring the last known remaining vial of that blood into the river below the Brooklyn bridge as the sun sets behind her and “The Way You Look Tonight” plays on the soundtrack. The lyrics give voice to her tears, “I will feel aglow, just thinking of you . . . just the way you look tonight,” and she says simply, “Goodbye, my darling” gazing into the waters.35 Within the larger MCU franchise, the audience is aware of Captain America’s coming resurrection, but in the context of Agent Carter Steve Rogers has become a muse for our central hero, whose spiritual independence is cemented by this eulogistic act. As a metatext that deepens our understanding of Peggy’s character as independently minded even in the face of a bullying patriarchy, Agent Carter further demonstrates that it is only through having a voice of her own that her relation to Captain America can be as influential as it is. Peggy Loses her Voice in ‘Endgame’ What becomes of Peggy in the final scenes of Avengers: Endgame stands in conspicuous contrast to her other portrayals in the MCU. After having helped save the universe, Steve Rogers goes back in time so that he can finally get that promised dance—the one he’s been talking about for decades—and, presumably, so that he can live a life with Peggy. Reception of this ending was mixed, with some feeling that it was a well-deserved and emotionally satisfying denouement to his heroic journey, and others feeling a bit miffed at the contorted implications this might have for the MCU’s timeline. But what seems most disappointing to this author is the fact that, unlike in most of her other onscreen appearances in the MCU films, Peggy is denied a substantial voice of her own. During their time-travel sequences, other key characters encounter “ghosts” from the past, but each of those “ghosts” says something that influences the hero. Thor happens across his mother in the halls of their palace on Asgard, not long before she will be killed. He knows that she is about to die, and says, “Mother, I have to tell you something . . . ” but she shushes him, saying, “No, son, don’t. You’re here to repair your future, not mine.” As a goddess, she understands the ins and outs of time travel. He is despondent, feeling a failure, but she advises him, “Everyone fails at who they’re supposed to be, Thor. The measure of a person, of a hero, is how well they succeed at being who they are.”36 Through her words, Thor finds the confidence to reclaim his heroism. Likewise, Tony Stark meets his father Howard just before he himself is about to be born, and his father (who doesn’t realize he’s talking to his own son) asks him for advice about being a father. In a stark example of dramatic irony—of which Tony is aware along with the audience—Tony imparts one of his favorite bits of advice from his father, that “No amount of money ever bought a second of time.” Of course, this becomes a cleverly circular piece of advice since it may well have been Tony

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that had imparted it to Howard in the first place. Howard answers, “I tell you, that kid’s not even here yet, but there’s nothing I wouldn’t do for him.”37 This is just what Tony needed to hear in preparation for his own upcoming battle, when he will have to sacrifice himself for his own young child (and the rest of the world). By contrast, when Steve encounters Peggy at the same military base, he sees her through a pane of glass outside of her office. She is clearly in a position of authority, and he looks on admiringly, but her voice is of no consequence to Steve. Narratively one might excuse his lack of interaction with her; unlike Freya, Peggy would have been shocked to meet Steve and would have demanded an explanation. However, in the very last scene of the film, we find them slow-dancing wordlessly to a jazz tune. As they look into each other’s eyes and kiss—not having spoken a word to each other in the course of the film—the screen fades to black, and we hear the lyrics of the song, “Never thought that you would be, standing here so close to me. There’s so much I feel that I should say. But words can wait, until some other day.”38 While the lyrics overtly signal that this is to stand in for her perspective, this seems a very slight excuse for having robbed Peggy of her highly individual voice. Here, unlike in any appearance that she has made in the MCU films, Peggy has been reduced to a romanticized image; she, as a character, has become subservient to her role in Steve’s life. In this version of the timeline, does this scene imply that she will give up her life—the one that she had lived independently of him? If that is the case, then it seems to this author that the resolution of Cap’s journey as a character is emptier because of it. CONCLUDING THOUGHTS The counterpoint of Peggy’s voiceless portrayal in Endgame foregrounds her larger role in Steve’s life in the MCU. While Captain America is, arguably, the emotional heart of the Marvel Cinematic Universe, it is his dynamic relationship to Agent Margaret “Peggy” Carter that most deeply provides him with direction and fortitude. But like any great ally, Peggy can only serve as his moral compass because she is possessed of an agency of her own, because she has her own independent voice. She may serve as Steve’s inspiration and his moral anchor, but she will not do so through fawning admiration or unquestioned loyalty; she does so through a combination of empathy, challenge, and disruption. While she may be his love interest, she cannot be reduced to that. If it is true that it is only due to the support of those around him that Steve becomes a hero, it is Peggy that imbues him with a clear understanding and appreciation of the importance of those relationships—despite their disparate abilities—so that he can become a leader even

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of heroes that are far more powerful than he is. If a central conceit of Steve’s origin story is that it is through the experience of not having had power that one becomes more understanding of a virtuous application of power once you obtain it, then it is Peggy that is most responsible for having driven home that lesson. She teaches him that even when you are underestimated you must stand up for what you think is right, while at the same time remembering the purpose and humanity you share with others. If she is to be his dance partner, she cannot be one that is predestined only to follow; if anything, it is she that taught him to lead. NOTES 1. Marvel’s Agent Carter, Series Creators Christopher Markus and Stephen McFeely (Los Angeles, CA: ABC Studios / Marvel Television, 2015–2016). 2. Emmanuel Levinas, “Meaning and Sense,” in Emmanuel Levinas: Basic Philosophical Writings, editors A. T. Peperzak, S. Critchley, and R. Bernasconi (Bloomington, IN: Indiana University Press, 2008). 3. Jack Kirby and Joe Simon. Captain America Comics #1. (New York: Timely Comics, 1941). 4. Anthony R. Mills, American Theology, Superhero Comics, and Cinema: Subverting the Anthropology of the American Monomyth in Marvel Comics Superhero Films. (New York: Routledge, 2014), 4. 5. Mark Millar and Steve McNiven, Civil War. (New York: Marvel Comics, 2006–2007). 6. Captain America: The First Avenger, director Joe Johnston (Los Angeles, CA: Marvel Studios, 2011). 7. Trevor McCrisken and Andrew Pepper, American History and Contemporary Hollywood Film. (New Jersey: Rutgers University Press, 2005), 90. 8. Captain America: The Winter Soldier, directors Joe Russo and Anthony Russo (Los Angeles, CA: Marvel Studios, 2014). 9. Captain America: Civil War, directors Joe Russo and Anthony Russo (Los Angeles, CA: Marvel Studios, 2016). 10. Captain America: The First Avenger. 11. Ibid. 12. Mills, 183. 13. Ibid., 184. 14. Captain America: The First Avenger. 15. Ibid. 16. Gail Simone, “Women in Refrigerators,” lby3.com/wir/, 1999. 17. Avengers: Endgame, directors Joe Russo and Anthony Russo (Los Angeles, CA: Marvel Studios, 2019). 18. Stan Lee and Jack Kirby, Tales of Suspense Vol. 1, #77 (New York: Marvel Comics, 1966).

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19. Kirby and Simon. 20. Steve Englehart and Sal Buscema, Captain America Vol. 1, #161–162 (New York: Marvel Comics, 1973). 21. Captain America: The First Avenger. 22. Ibid. 23. Ibid. 24. Captain America: Civil War. 25. Captain America: The First Avenger. 26. Ibid. 27. Captain America: The Winter Soldier. 28. Ibid. 29. Captain America: Civil War. 30. Marvel’s Agent Carter. 31. Julian Chambliss, William Svitavsky, and Daniel Fandino, “Introduction,” from Assembling The Marvel Cinematic Universe: Essays on the Social, Cultural, and Geopolitical Domains. (Jefferson, NC: McFarland and Company, 2018) 32. Marvel’s Agent Carter. 33. Robin Hitchcock, “The Superficial Yet Satisfying Feminism of Agent Carter.” www​.bitchflicks​.com, 2015. 34. Marvel’s Agent Carter. 35. Ibid. 36. Avengers: Endgame. 37. Ibid. 38. Ibid.

Chapter 13

Alfred Pennyworth, a Superhero’s Mentor Understanding Effective Mentorship Through Nolan’s Dark Knight Trilogy William O. George III, Wendy Gray Morales, and Jacob George

The mentoring relationship between Alfred Pennyworth and Bruce Wayne (Batman) is significant in the Dark Knight Trilogy.123 Over the course of the three films, Alfred transitions from the role of butler to that of guardian, surrogate father, and ultimately, mentor to Bruce. It is the intention of the authors to draw the comparison of the important role of mentorship in education as it relates to different stages in an educator’s career. Using the character of Batman as the mentee provides the opportunity to inspire extraordinary accomplishments from a superhero who, unlike the reader, has no supernatural abilities. The extreme life circumstances surrounding Bruce Wayne and his alter ego Batman provide powerful examples of the evolution of the human condition and spirit, while also illustrating the importance of mentorship in this evolution. Pagnucci and Romagnoli argue that there are numerous benefits to studying comic books in all academic disciplines.4 Because the characters in these Batman films are based on the characters in the DC Comics, it can also be argued that the lessons learned from reading the comic books can also be learned from viewing the films. Nolan’s ability to portray multifaceted characters grappling with internal and external struggles, allows us to make natural and meaningful connections between the world of comics and our reality as educators today. 185

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BACKGROUND In the field of education, as in life, individual growth occurs as a result of reflective purposeful practice. This practice is refined through life experience and the guidance of important role models like parents. Many of us have learned to evaluate our social-emotional, academic, and professional growth based on societal indicators. These include age-appropriate norms, standardized assessments, informal and formal evaluations, and professional standards, to name a few. Our parents/guardians provided ongoing feedback and support when we were children to nurture appropriate growth. Mentors are people who care enough to spend the time and energy to assist our maturation and make a positive impact on our practice. As Brondyk and Searby state, “There is empirical research underlying the premise that mentoring is a construct that enhances growth in individuals (educators and noneducators) and in organizations of all types.”5 Successful mentor/mentee relationships are based on the development of two-way communication that inspires trust with common goals/objectives. Garza, et al. share some of the varying definitions of mentoring in the literature. Many of these definitions include words such as “continuous,” “reflective,” and “complex.”6 These are all components of Alfred’s mentorship of Bruce. Once the mentor and mentee establish a shared vision as to the purpose of the relationship and goals of the organization, purposeful practice can be reflected upon and progress can be achieved. In the Batman films, we see the growth of Alfred and Bruce’s relationship as they work toward the same goal of making Gotham a safer place for its citizens. One of the mentoring techniques that is relevant to the Dark Knight Series is close mentoring. Close mentoring is the process where the aspiring leader is prepared for a leadership role through socialization that is facilitated by a mentor.7 Socialization occurs when the less experienced student spends time with the mentor. It is our belief that mentorship is a multidimensional process. In order for a mentee to be successful in a leadership role they must embrace their position and maximize opportunities.8 In the film series Bruce Wayne steps up to the task of being a leader which is evident from his ability to keep order in the city despite the efforts of the Scarecrow, the Joker, and Bane. His effort though, would not be successful without the ongoing support of his guardian and mentor Alfred Pennyworth. According to research, effective leadership in schools takes several factors that exceed merely recruitment and training9,10 (Browne-Ferrigno & Muth, 2004; Kelley & Peterson, 2004). Mentorship requires continuous support through coaching, reflection, commitment to self-improvement, and mentee-mentor collaboration. This research (2004) specifically argues that

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mentor principals who recruit and support mentees unconditionally hold the greatest influence on their mentees’ decisions to become educational leaders. This dedicated approach to mentorship is also modeled in The Dark Knight Rises when Alfred tirelessly insists that Bruce moves on with his life by finding a more positive balance. SIGNIFICANCE OF THE MENTORSHIP Over the course of the trilogy, Alfred and Bruce’s relationship clearly progresses through Kram’s four phases of mentorship.11 Kathy Kram’s work on mentorship spans decades. In “Phases of the Mentor Relationship,” Kram states that mentorships foster both career and psychosocial development. Career development entails the mentee “learning the ropes,” through “coaching, protection, exposure-and-visibility, and challenging work assignments.”12 On the other hand, psychosocial development occurs when the mentor instills a “sense of competence, confidence, and effectiveness” in the mentee.13 If successful, the mentor fosters the mentee’s career and psychosocial development through four distinct phases. These include initiation, cultivation, separation, and redefinition. While this process may occur in any mentor relationship, the authors’ experiences as both mentors and mentees led to our belief that this process is common in educational settings. During the initiation phase, the mentee “begins to feel cared for, supported, and respected by someone who is admired and who can provide important career and psychosocial functions.”14 In education, this phase involves an experienced teacher or administrator who brings a mentee under his/her wing, developing trust and mutual respect. The cultivation phase is defined by the mentee’s growing independence as a result of the career and psychosocial skills the mentor has helped the mentee develop.15 At this time, the mentee is becoming more confident and is able to work collaboratively with the mentor, even proposing ideas of his/her own. The mentor provides continuous feedback and support. Separation, the third phase, usually includes some “turmoil, anxiety, and feelings of loss . . . as the equilibrium of the cultivation phase is disrupted.”16 In education, this may occur when the mentor and mentee do not agree on which strategies are the most effective in achieving a shared goal/vision. Finally, redefinition occurs when a friendship emerges and the mentor feels a sense of pride in what the mentee has accomplished.17 The goal in educational mentorships is for the two parties to become trusted and collaborative colleagues who can move the organization forward. Throughout the Nolan films, the four phases of mentorship are clearly illustrated by Alfred and Bruce’s relationship. From an educational standpoint, we believe this is beneficial in better understanding the role of mentorship and

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how progressing through the phases is a normal, even necessary, process for both mentor and mentee. Furthermore, our analysis of the Dark Knight trilogy will provide a representation of the four phases of mentorship to demonstrate the value of a mentoring relationship and to establish clear guidelines for each phase. Batman Begins In Batman Begins,18 Alfred and Bruce’s relationship is clearly in phase one of the mentoring relationship: initiation. Soon after the murder of his parents, Alfred demonstrates his support for Bruce by reassuring the young boy that the death was not his fault. He shares in Bruce’s grief and comforts him with a hug. By doing this, Alfred establishes himself as a nurturer and ultimately, Bruce’s only parent figure. Later, when Bruce returns home after being kicked out of Princeton University, Alfred articulates this role to a forlorn Bruce by stating, “A good man once made me responsible for what was once most precious to him in the whole world.”19 Frequent interactions between Alfred and Bruce during this time of uncertainty solidify the continuation of the initiation phase. These interactions “create and support positive expectations” in the form of reassurance.20 At one point, Bruce asks Alfred, “Haven’t given up on me yet?” Alfred replies, “Never.”21 Years later, after training with the League of Shadows, Bruce ultimately chooses to defy his teacher, Henri Ducard (Liam Neeson), due to the league’s lack of concern for innocent life and the greater good of humanity. He returns to Gotham where the initiation phase of his mentorship with Alfred continues. In her study, Kram states that this phase included “discussion of performance” where the mentee looks to the mentor for guidance and support.22 This is exemplified when Alfred collaborates with Bruce in building the bat cave and designing the first iteration of the bat suit. Alfred also advises Bruce to develop a persona to disguise his superhero identity. From this guidance, Bruce Wayne the womanizer is born. As the film continues, Bruce’s Batman develops into the hero we know from the comics. Even heroes, however, make mistakes, and Alfred is there to support Bruce and remind him of Batman’s purpose. For example, after Dr. Crane (“The Scarecrow”) attacks Batman with his “fear toxin,” it is Alfred who comes to his rescue and nurses him back to health.When Bruce becomes a bit too careless with his heroic escapades, Alfred reminds him, “You’re getting lost inside this monster of your’s. . . . It can’t be personal, then you’re just a vigilante.”23 The consistent presence of Alfred in his life allows Bruce to develop essential skills such as perseverance and self-reflection, which will serve him well in later films.

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Effective educational leaders are able to use the mentee-mentor relationship to facilitate collaboration where breakthrough ideas can be shared from a variety of perspectives.24 In essence, good mentors provide support and guidance to less experienced mentees. They do not try to control the individual as Alfred does not try to control Bruce. He merely reminds him of the values from which he was raised and supports his goal of becoming Batman. Through his words and actions, Alfred nurtures both Bruce’s career and psychosocial development. By the end of the film, it is clear that the mentor relationship is moving into phase two; cultivation. The Dark Knight In the sequel to Batman Begins, Bruce and Alfred’s mentorship relationship has progressed to the cultivation phase. Cultivation is the climax of the mentee-mentor relationship. During this phase the individual continues to grow under the guidance of the mentor, but develops more confidence in his/her abilities. As a result of the psychosocial impact, a friendship between mentee and mentor may emerge.25 In the second film, Alfred’s role has shifted from a caretaker to that of an active collaborator and voice of reason. The cultivation stage is defined by the mentee’s growing independence, as a result of the mentor’s career and psychosocial support.26 The mentee and mentor are able to work together to face problems while the mentor provides ongoing feedback. For example, in this film, Bruce questions why the mob would work with Gotham’s newest villain, the Joker. Alfred points out, “You crossed the line first, sir. You squeezed them, you hammered them to the point of desperation. And in their desperation, they turned to a man they didn’t fully understand . . . perhaps this is a man you don’t fully understand either.”27 Alfred goes on to describe his own experience with similar criminals in Burma. These criminals stole precious stones, only to discard them. Alfred explains how some criminals are not looking for an extrinsic reward such as money, but instead, the chaos their actions cause. Alfred warns, “Some men just want to watch the world burn.”28 By pointing out Bruce’s lack of understanding and sharing his own experiences as a professional, Alfred is able to provide Bruce with greater insight into the mind of the Joker. This level of support continues as Bruce becomes increasingly distraught by the Joker’s relentless attacks. When the Joker demands that Batman reveal his true identity or more people will die, Bruce asks his mentor for advice. Alfred states, “Endure, Master Wayne. Take it. They’ll hate you for it, but that’s the point of Batman, he can be an outcast. He can make the choice that no one else can make, the right choice.”29 Essentially, Alfred is reminding Bruce that Batman has to be more than a hero. He has to remain true to his vision from the beginning; to be a “watchful protector” and a symbol of

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good. If Bruce gives in to the Joker, he can no longer fulfill his goal of making Gotham a safer place. Bruce reaches a low point after the Joker kills Rachel, his childhood friend and love interest. Alfred knows Bruce is questioning his role as Batman and once again, provides him with words of wisdom and encouragement. He explains, “Things were always gonna get worse before they got better . . . Rachel believed in what you stood for, what we stand for. Gotham needs you.”30 Although Bruce’s confidence has been shaken by the horrific actions of the Joker and the good turned bad Harvey Dent (Two-Face), he abides by Alfred’s words and decides to let Batman take the fall for Two-Face’s crimes. He knows that by doing this, he is letting Dent be the hero that Gotham needs at that time. The cultivation phase in The Dark Knight is evident in the dynamic of Bruce and Alfred’s developing relationship. They collaborate on different aspects of Bruce’s professional life both as a business executive and as Batman. Bruce experiences failure and loss, but is supported by his mentor Alfred’s wisdom, experience, and genuine concern. In the field of education, new teachers and/or leaders “hit their stride” during the cultivation phase, but as their confidence grows, they naturally take greater risks. The role of the mentor is to continue to promote the mentee’s independence, while providing honest feedback and unwavering support. If a mentor is successful, it is only natural for the mentee to build enough confidence that they may no longer see eye to eye with the mentor. We see this situation emerge in the final film in the trilogy, The Dark Knight Rises. The Dark Knight Rises In The Dark Knight Rises31 Alfred’s mentorship of Bruce moves into the separation and, eventually, the redefinition phases. It has been years since the death of Harvey Dent and his love, Rachel, and Bruce is a shell of his former self. Because of the emotional and physical injuries he suffered as Batman, Bruce has become a recluse with many believing he is disfigured. In this early part of the film, Alfred expresses his concern for Bruce’s well-being as any good mentor would. Alfred states, “You’re not living. You are just waiting, hoping for things to go bad again.”32 Alfred tells Bruce that when Bruce was gone for those seven years, he went on vacation every year to the same place, hoping to see Bruce there with a family. Alfred explains to Bruce that all he ever wanted was for Bruce to be happy. After being robbed by a master thief Selina Kyle (Catwoman) and hearing about the latest threat to Gotham (Bane), Bruce considers becoming Batman again, Alfred recognizes that Bruce is struggling with his identity and purpose. He discourages Bruce’s resurrection as Batman and tries to convince

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him that his business assets are most crucial in protecting the city of Gotham. Alfred argues, “The city needs Bruce Wayne. . . . It doesn’t need your body or your life. . . . That time has passed.”33 Alfred believes that Bruce, not just Batman, is capable of greatness. This scene is the buildup toward the separation phase of the mentorship relationship. Ignoring his mentor’s advice, Bruce once again becomes Batman. After one last unsuccessful plea: “You’re not Batman anymore. You have to find another way.”34 Alfred tells Bruce that he must leave behind the boy he raised in order to save his life. In any mentor relationship, phase three is typically induced by anxiety and disagreement.35 This is evident in the film as Bruce and Alfred are clearly in disagreement on Bruce becoming Batman once again. This argument about Bruce’s future begins the separation phase of the mentor relationship. Although mentor and mentee are no longer working together, Bruce ultimately remembers the teachings of his mentor when he once again sacrifices Batman for the good of Gotham. At Bruce’s funeral, Alfred cries, “I failed you. You trusted me” but yet the viewer soon realizes this is not the case.36 In the final scene, we see Alfred return to the same vacation spot, where he said he would always look for Bruce. His dream is realized when he spots Bruce with his new love, Selena Kyle. Their brief acknowledgment of one another and Alfred’s proud smile, embodies Kram’s final phase of mentorship, redefinition. Bruce now has a new identity, one that directly evolved from Alfred’s mentorship. At that moment, the viewer assumes that Alfred and Bruce’s relationship may not be over, just different. In our experience, the separation and redefinition phases of mentorship in education are just as crucial to a mentee’s development as the first two phases. The mentee has developed enough confidence and independence that he/she develops their own leadership style. This is often referred to in research as self-efficacy. Self-Efficacy in Batman Albert Bandura first coined the word “self-efficacy” to describe a person’s belief that he/she can be successful. When examining how self-efficacy is developed, Bandura identifies four main sources of influence. These include performance accomplishments, vicarious experiences, verbal persuasions, and emotional arousal.37 Looking at this through a mentorship lens, it is clear that Alfred provides Bruce with each source of influence to increase his mentee’s self-efficacy over the course of the three films. The first source, performance accomplishments, develops individuals self-efficacy when they experience their own success. The more successes they have, the better able they will be to manage failures.38 By supporting and

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even encouraging Bruce’s early transformation into Batman, Alfred is instrumental in Batman’s first few successes. In the first iteration of the batsuit Alfred helped design, Batman is able to immediately intercept the mob boss Falconi’s men. These early successes create a foundation for Bruce’s belief that he can help the people of Gotham. The second source of influence in developing self-efficacy, the vicarious experience, occurs when a person observes another. This includes a mentor modeling a skill or behavior39 (Bandura, 1977). While Alfred does not model physical actions, like the skills taught by Ra’s al Ghul, he continually models intelligence, loyalty, and morality. Under Alfred’s mentorship, it is apparent that his modeling has a positive impact on Bruce. In fact, to save Gotham, Bruce relies more on these qualities than on his physical skills. Although Bruce steps away from his superhero role after the death of Rachel, he ultimately returns to it out of the sense of duty that Alfred has always modeled. Verbal persuasion, another source of influence, is usually not as powerful in increasing self-efficacy as other experiences, but it nevertheless has an important place in a person’s development.40 On multiple occasions, Alfred reminds Bruce why he must “fall” . . . “So we can learn to pick ourselves up.”41 At Bruce’s lowest point, he reminds him that Gotham needs him. Alfred also reiterates the importance of the Wayne legacy and Bruce’s responsibility in ensuring his father’s dream of a better Gotham is realized. Although Alfred is not a man of many words, he always seems to know when Bruce needs encouragement to persist on his difficult journey as protector of Gotham. Bandura refers to the final source of influence of self-efficacy development as “emotional arousal.”42 This has to do with how individuals react to stressful situations. Oftentimes, fear causes people to question their abilities and even shut down. The remedy to this is to analyze the situation, realize one’s control over it, and ultimately, conquer one’s fear.43 Although Bruce struggles with facing his fears from a young age, Alfred continually supports him in this process. He reminds him that his goal to protect Gotham should not come from a place of vengeance stemming from his parents’ death. When Bruce experiences frustration, self-doubt, and even despair, Alfred’s support in the form of his wisdom and constant presence, enables Bruce to experience success even in the most challenging situations. In education, effective mentors are instrumental in building their mentees self-efficacy. Although mentors cannot contribute to every facet of self-efficacy development, it is evident that there are specific strategies they can use to support their mentees’ growth. These include steering mentees into situations where they are likely to experience success, modeling effective strategies, providing frequent positive feedback, and offering perspective during challenging times. While Bruce possesses many innate qualities which

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make him a strong leader, it is difficult to claim that he would have experienced the same success without Alfred by his side. The False Mentor: Ra’s al Ghul In Batman Begins Ra’s al Ghul introduces himself to Bruce as Henri Ducard in order to maintain his anonymity. Although Bruce is unaware at the time, Ghul is the leader of the League of Shadows whose goal is to destroy Gotham. When viewing the first film, it may appear to viewers that Ghul is Bruce’s mentor, not Alfred. As the movie progresses, however, the viewers realize while Ra’s al Ghul is surely an important teacher, he is not a true mentor to Bruce. Ra’s al Ghul provides Bruce with important physical and mental skills necessary to perform the role of crime fighter and protector of the people. Ghul trains Bruce in developing skills such as sword fighting, martial arts, and chemical warfare. These skills help Bruce develop the mental/physical toughness that will be instrumental in assisting others. Perhaps even more importantly, Ghul guides Bruce on his journey to tackle his anger and fear. Ghul even provides Bruce with powerful advice, “Your anger gives you great power, but if you let it, it will destroy you.”44 Ghul, however, lacks a sense of humanity and a moral compass to provide for the greater good of all people. Ghul manipulates others for his own personal gain and power. We see this when he tries to manipulate Bruce into killing a man who he says is a criminal. At this moment, Bruce realizes he and Ghul do not share the same goal or sense of morality. Bruce refuses to kill the man and instead fights members of the League of Shadows. Although he saves his teacher from death, Bruce leaves him in the village and makes his way back to Gotham. Ghul’s controlling behavior can be connected to Classroom Management Styles. According to this theory there are three styles: Authoritarian, Authoritative, and Permissive.45 The authoritarian style is characterized by restrictive and punitive behaviors, while the permissive style is characterized by a lack of involvement and minimal guidance. The authoritative style is characterized by the establishment of high expectations for appropriate behavior.46 Ghul’s strict control over Bruce, his narrow-mindedness when it comes to Gotham, and his punitive actions against Bruce later in the film, place him into the authoritarian category. In mentorship settings, including education, the best way to facilitate a functional relationship is by adopting the authoritative style. Alfred possesses such a style in the Batman films. By setting high, yet realistic expectations for mentees, mentors, like Alfred, contribute to the mentees’ self-efficacy development and avoid behaviors that may lead to a fractured relationship.

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Providing educators with the appropriate professional development in delivering effective strategies for student achievement can assist the mentor in establishing those high expectations. However, while learning best practices are integral to subject-specific mastery, they do not reinforce real life application of academia. While a teacher can teach skills, only a mentor can help a mentee apply those skills consistently and effectively under a shared vision. A successful mentor-mentee relationship moves through Kram’s four stages of mentorship and provides the mentee with the sources of influence to achieve a high level of self-efficacy. Ghul’s authoritarian style is not conducive to a healthy mentor/mentee relationship, whereas Alfred’s authoritative style allows Bruce to eventually become the leader and protector he set out to be. CONCLUDING THOUGHTS When reviewing the characteristics Alfred exhibits in his role as mentor to Bruce, the first trait that comes to mind is his unwavering and unconditional support. Throughout Bruce’s childhood and adult years, Alfred shows continued patience, believing in Bruce’s untapped potential. As a mentor, he continuously supports Bruce during his identity crisis when he struggles to find meaning in his life. Over time, Alfred becomes more proficient in the role of providing specific feedback, even when this feedback is ignored by Bruce. Eventually, Alfred realizes that as a mentor, his support can only take Bruce so far and that he must step back and allow Bruce to experience his journey on his own. Bruce’s resistance to evolve beyond the persona/ego of Batman makes Alfred realize that he must strip Bruce of the level of support he has provided to allow him to truly understand the gravity of his isolation and narrow existence. By the end of the trilogy, however, Bruce realizes the wisdom of his mentor and follows his advice. The changing conditions of Bruce and Alfred’s mentorship can be clearly seen through the lens of Kram’s Four Phases of Mentorship. Each time the relationship transforms into something new is an indication of the advancement into a new phase. This process ends in the final scene of the trilogy when Alfred and Bruce’s relationship is redefined just as Alfred had envisioned. Self-efficacy and Classroom Management Styles also help to illuminate the critical elements of Alfred’s mentorship of Bruce. These theories shed light on Alfred’s character and how he was able to positively influence Bruce throughout the duration of their relationship. Alfred’s mentorship of Bruce was no easy feat. Mentoring a superhero, where one’s guidance can result in life-or-death consequences, is certainly a high pressure role. Alfred adopted this role without hesitation. While

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educational mentorship may not be as high risk, it can certainly be as rewarding. Mentorship can benefit the mentor as much as the mentee.47 This is evident at the end of the final film when Alfred acknowledges Bruce with a prideful smile. While no mentor is perfect, the films provide strong evidence of Alfred’s ability to guide Bruce through all four stages of mentorship, while simultaneously supporting him in developing his self-efficacy as a leader. Alfred’s balance of positive guidance, critical feedback, and steadfast devotion serves as an example to present and future educational mentors. NOTES 1. Christopher Nolan, dir. Batman Begins, (2005; United States: Warner Bros), film. 2. Christopher Nolan, dir. The Dark Knight, (2008; United States: Warner Bros), film. 3. Christopher Nolan, dir., The Dark Knight Rises, (2012; United States: Warner Bros), film. 4. Gian Pagnucci and Alex Romagnoli, “Rebooting the academy: Why universities need to finally start taking comic books seriously,” Works and Days 32, no. 2 (2014), 9–20. 5. Susan Brondyk and Linda Searby, “Best practices in mentoring: Complexities and possibilities,” International Journal of Mentoring and Coaching in Education (2013), 189–90. 6. Rubén Garza, Ellen L. Duchaine, and Raymond Reynosa, “A year in the mentor’s classroom: Perceptions of secondary preservice teachers in high-need schools.” International Journal of Mentoring and Coaching in Education (2014), 220. 7. Tricia Browne-Ferrigno and Rodney Muth, “Leadership mentoring in clinical practice: Role socialization, professional development, and capacity building,” Educational Administration Quarterly 40, no. 4 (2004), 468–94. 8. Margaret Grogan and Gary Crow, “Mentoring in the context of educational leadership preparation and development—old wine in new bottles? Introduction to a special issue,” Educational Administration Quarterly 40, no. 4 (2004), 463–67. 9. Browne-Ferrigno and Muth, 468–94. 10. Carolyn Kelley and Kent D. Peterson, “The work of principals and their preparation: Addressing critical needs for the 21st Century,” In M. S. Tucker and J. B. Codding (Eds.), The Principal Challenge: Leading and Managing Schools in an Era of Accountability (San Francisco: Jossey-Bass, 2004), 247–312. 11. Kathy E. Kram, “Phases of the mentor relationship,” Academy of Management Journal 26, no. 4 (1983), 608–25. 12. Kram, 613. 13. Kram, 614. 14. Kram, 615. 15. Kram, 616. 16. Kram, 616–17.

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17. Kram, 620. 18. Nolan, Batman Begins. 19. Nolan, Batman Begins. 20. Kram, 615. 21. Nolan, Batman Begins. 22. Kram, 615. 23. Nolan, Batman Begins. 24. Grogan and Crow, 463–67. 25. Kram, 616. 26. Kram, 616–17. 27. Nolan, The Dark Knight. 28. Nolan, The Dark Knight. 29. Nolan, The Dark Knight. 30. Nolan, The Dark Knight. 31. Nolan, The Dark Knight Rises. 32. Nolan, The Dark Knight Rises. 33. Nolan, The Dark Knight Rises. 34. Nolan, The Dark Knight Rises. 35. Kram, 618. 36. Nolan, The Dark Knight Rises. 37. Albert Bandura, “Self-efficacy: toward a unifying theory of behavioral change.” Psychological review 84, no. 2 (1977), 191–215. 38. Bandura, 195–97. 39. Bandura, 197–98. 40. Bandura, 198. 41. Nolan, Batman Begins. 42. Bandura, 198–200. 43. Bandura, 198–200. 44. Nolan, Batman Begins. 45. Diana Baumrind, “Current patterns of parental authority,” Developmental psychology 4, no. 1 (1971), 1–103. 46. Baumrind, 1–103. 47. Felicia Saffold, “Increasing self-efficacy through mentoring,” Academic Exchange Quarterly 9, no. 4 (2005), 13–16.

Chapter 14

Humans and Gods Steve Trevor and Etta Candy Navigating Wonder Woman’s Universe Maryanne A. Rhett

In 1942, against the backdrop of World War II, comics readers sought solace and hope in the pages of Sensation, Action, and Star-Spangled comics. The story arcs readers perused pitted superpowered aliens and multimillionaires in their caped and masked alter-egos against the forces of fascism and Nazism, fusing the real world with the comic universe. Comics, in their crusade to lift the morale of the Allied powers, were shipped wholesale to the far-flung corners of the world in care-packages from home. At home, the caped marvels suggested alternative visions of future societies, where the virtues of truth and justice, a deep-seated sense of good versus evil, and, at least in one case, a revised gendered societal dynamic prevailed. Comics coupled with the virtues of classic religious texts to give hope to those grieving or anxious about the future of the world. The U.S. reading populous found embedded in these books heroes not only to turn to in their moment of need dealing with loss, but heroes to emulate, to look up to, and to aspire to replicate. The heroes of the comics were not always the characters endowed with super-human strength and intelligence, but were also the humans, the mere mortals, who worked alongside the superpowered and offered the most realistic role models to the readership. Superheroes’ human counterparts offer readers tangible ways for understanding themselves in a superhero’s universe, but they also offer insights into how one may live a heroic and just life in our own universe as well, sometimes with its own outsized troubles. The relationships between “mere mortals” and their superhero counterparts in the pages of comic books are 197

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modern adaptations of much older literary tropes. The mythical and legendary literature of the ancient world told of the entanglements between the gods, demigods, and humans, and how these entanglements made Man better or broke them as the playthings of the gods. In the Iliad the gods pull the strings of the human narrative to such a degree that Patroclus’ death is the inducement for Achilles to take action at Troy. In the history of Jesus’ life, and more importantly here those of his disciples, it was the undivine humans who carried on the vision of the divine in the earthly realm. Indeed, in most messianic traditions this need for human intercessors is crucial to the perpetuation of the faith. In the post-Nietzschean world, the gods and supernatural forces which were so intrinsic to narrative development appear to have been swept aside by post-Enlightenment rationality, yet no serious reader of comics can deny the intersectionality of these supernatural forces and the human world in shaping and reshaping both fictional and real-life worlds. While the human characters of comics are often forgotten in our critical examinations of the comic book structure, their presence and nature as companions, friends, and family of superheroes allows us powerful role models for realistically attainable traits. It is the humans in whom every reader can see achievable similarity. Humanity seeks out the opportunity to be a part of something bigger than itself. Humans, in all religious texts, seek to be loved by God (a god) and act to be a force against ultimate evil. Outside of the comic universe, all humans find themselves surrounded by those somehow more powerful, more intelligent, more put together than themselves. The eternal struggle, as Zoroastrian belief would frame it, between good and evil, light and dark, in each of us individually and in the world outside of us is a daily struggle each human battles. In the human-superhero interactions of the comic book universes readers find meaningful ways for navigating life’s real tribulations and learning to express their own identity in progressive, compassionate, and understanding ways. BACKGROUND In the comic series Wonder Woman—first written by William Moulton Marston with art by Harry G. Peter—Steve Trevor, Etta Candy, and the “Holliday Girls” act as the real-life counterparts to Diana Prince—Wonder Woman—after she leaves Paradise Island/Themyscira to join Man’s World. Trevor and Candy are relatable characters in whom readers can see themselves. As much as Prince was the aspirational figure for women and girls of the era, it was in the shoes of Trevor and Candy that readers could place themselves. In both Prince’s backstory and real-life, the world war which raged around her was a tool useful to her creators for propelling a narrative

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of patriarchal overthrow. Thus, Trevor and Candy have a two-fold role as Wonder Woman’s human counterparts. They are confidants, even love interests (where love is broadly defined) as well as guides for a feminist life in Marston’s quirky, even radical, vision of a matriarchical utopia. Since the 1970s, comic book superheroes have often come to their powers reluctantly, late, and by misadventure. The same may be said of prophets who are often themselves reluctant to take up the mantels of faith and lead new communities. In terms of comics, Spider-Man was a normal teenage boy before being bitten by a radioactive spider, the X-Men struggled to perform normativity and suppress their powers in a world hostile to difference, and Dr. Strange sought out his powers, working hard to acquire them. The sense of powerlessness that permeates the narrative of mortal humans in superhero worlds is not far removed from the sense of powerlessness felt by many would-be superheroes before learning of, or gaining their, powers. Kamala Khan, before becoming Ms. Marvel, wrote fanfiction about the superheroes of the Marvel universe, in which she knowingly lives.1 Similarly, Fairuz Hussain, before being able to wield Excalibur, ranks the battle in which she finds herself as she performs her medical duties, as “Easily one of his [Captain Britain] top ten battles.”2 A savvy reader will note at this point, that all of these examples are of Marvel characters, and Wonder Woman is of course from the DC universe. For many DC characters superpowers, are often innate (notable exceptions being Batman or the Flash). Unlike Khan and Hussain, Diana was born a demigod, she always knew herself powerful, although until Steve Trevor is hurtled into her life, her sense of power is relative to the world of Themyscira. Diana’s awakening comes when she is allowed to leave the island and faces the realities of Man’s World. The struggle was less about learning her powers and the responsibility that came with them than about learning to navigate life in a world where, by virtue of her sex, she was second-class. Beyond the epiphany moment when superheroes find their footing in the “real world,” other symbols are at play in the conceptualization of the superhero universe and the interactions between the powerful and the powerless. The nature of these relationships, particularly the friendly variety, is another trope with a long literary lineage. Narratives exploring the relationships between humans and gods make up the mythic foundations of most of the world’s cultures. Human-gods interactions tend to focus on the imbalance of power and the relationship between the two parties and it is often demigods who emerge as fault ridden “superheroes” acting as intercessors for one or the other of the groups.3 Twentieth and twenty-first century comics follow in this much larger narrative tradition. In his autobiographical memoir, Michael E. Uslan explained that in designing a class on comics for the University of Indiana in 1971 he knew Anthropology had to inform the course, noting, “My

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pitch would be that the gods of ancient Egypt, Greece, and Rome still exist, although today they wear spandex and capes. After all, the Greeks called him Hermes, the Romans called him Mercury, and we call him the Flash.”4 The superhero-human interaction of modern comics is simply a recent iteration of the god-human interaction of the premodern world. In the case of Wonder Woman, the centrality of the human-gods narrative is explicit and essential. Diana Prince, as she becomes known in Man’s World, represents the long lineage of history, herself part god, but is also simultaneously an aspirational vision of future Woman. This nature, as both a demigod and as the groundbreaking feminist superhero reshaping the male-dominated space of comic books in the 1940s makes the task of her human/mortal counterparts that much more complicated. For Steve Trevor, this relationship forces him to inhabit the fairly novel space of male counterpart to the embodiment of feminism and female empowerment explicitly on a mission of destroying the patriarchal establishment. Interestingly, but unlikely an influence on Marston though perhaps an influence on Trina Robbins later in Wonder Woman history, there are some parallels here to the sagas of Cuchulainn (the Irish mythical demigod) who was trained by Uathach and Scáthach, the legendary mother-daughter warriors of Celtic myth.5 As will be discussed below, Trevor struggles with this role. Chris Pine’s Steve Trevor from the 2017 cinematic Wonder Woman and the 2020 Wonder Woman 1984, was perhaps the most progressive and sympatric version of the military hero. Pine’s Trevor embodied the desire for equality, even suggesting a status as inferior to, at least Wonder Woman/Diana, if not all women. However, Wonder Woman 1984 added problematic layers to Pine’s Trevor and the human-superhero relationship. As The Warp notes in “Let’s Talk About Steve Trevor’s Problematic Resurrection in ‘Wonder Woman 1984,’” the film’s creators never seemed to consider the “ethical problems of having Steve steal some random guy’s body forever.”6 In staying true to the idea that humans are merely the play things of the gods 1984 does well, but the problematic choice of striping Trevor and his bodily host of any agency of their own is antithetical to a feminist equality reading of the general Wonder Woman story. IMPORTANCE OF THE STEVE TREVOR During Marston’s tenure as author of the Wonder Woman series, Trevor’s character and personae occasionally offered the image of a modern man qualified in his own right, but comfortable in an environment of equality. Often, however, he struggled with his place as perpetual rescuee. Steve Trevor is like many of Homer’s characters. He is an unwitting pawn in the squabbles

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between humans and the gods. In Wonder Woman, No. 1, the audience, in learning about Wonder Woman’s origin, reads of the long running feud between Mars and Aphrodite and how this led the world into war (not the rise of Fascism as we mortals would have thought). Mars taunts Aphrodite: “Ho! Ho! The whole world’s at war—I rule the Earth!” to which Aphrodite responds “Your rule will end when America wins! And America will win! I’ll send an Amazon to help her!”7 In the first few issues of Wonder Woman, Marston introduces us not only to Wonder Woman, but to the backstory of Paradise Island. Here we learn about the combative relationship between the Amazons and Man’s World. Ares, god of War, manipulates Trevor’s plane, forcing him to land on Paradise Island and thus provoking the Amazons into contact with the Man’s World once again. While Trevor is a perfectly competent man outside the orbit of the Amazons, in the first issue alone he must be rescued twice by Diana. His needing rescue is due in part to the role of the Gods and in part to his own stubborn will. Virginia Woolf’s vision of female utopia, the Outsiders Society, distinguishes some women from others of their sex by class and education (and likely race, although that is less explicitly obvious).8 This idea of female utopia led by the best and the brightest is likely at least in part what influenced Marston’s vision of Themyscira. Woolf’s Outsiders are “the daughters of educated men [who] might found and join outside [Man’s] society but in cooperation with its ends.”9 Woolf’s narrator is explicit in the relationship between patriarchal control and state structures in declaring “as a woman, I have no country. . . . As a woman my country is the whole world.”10 Still, Marston and Peter have a different take on the relationship between women’s desires and violence. Noah Berlatsky observes that “Everything Diana does is in contradiction to Woolf’s idea that women do not understand the satisfactions of glory or of fighting.”11 Like all feminist visions, Diana was and is, a complex mix of peaceful, love-bound utopian and state-bound, patriotic warrior. In this mixture, then, Trevor was meant to be the prototype male for such future societies. He is not useless, and he is certainly not lacking a chauvinistic swagger, but he does not fight the idea of a woman, at least this woman, leading, fighting, and saving men. Marston wished to see societal changes in which women did more than “cook and clean.” In 1942, he argued that “The truest kindness to any woman . . . is to provide her with an opportunity for self-expression in some constructive field: to work, not at home with cook-stove and scrubby brush, but outside independently, in the world of men and affairs.”12 Marston goes so far in his fight against the house-bound woman he literally chains Prince to an oven in Sensation Comics No. 9. In this issue, Wonder Woman, who had taken the alter-ego Diana Prince from a nurse looking to escape the working world

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in an earlier issue, is mistaken for the real-world Diana Prince. When the non-demigod Diana is frustrated by her husband, Dan White, and his inability to provide for their young family, she leaves to reclaim her job and identity. Wonder Woman, as Diana, then goes to the White home and the now angry Dan exhibits the worst traits of a male-centric home-life. Angered by the idea of his wife working outside the home, especially when he cannot, Dan chains Diana (Wonder Woman) to the cooktop as he rushes out to prove himself, and his ideas, to the military. Wonder Woman-Diana says “How Thrilling! I see you’re chaining me to the cookstove. What a perfect caveman idea!”13 In the end, in the guise of Diana again, Wonder Woman admits to Diana White that while she is happy to have her job back she envies Diana White’s life “as wife and mother.”14 Such examples of misogyny in male characters are often countered by Trevor, who, while constantly pining for Wonder Woman (not her alter-ego) seems eager to submit to her control. Still, Trevor struggles with societal expectations of men, and their place in the gendered hierarchy. Marston’s depictions of Trevor as an example to other men often take a close reading of the works. In the issue “The Amazon Bride” it appears Trevor will finally win out over Wonder Woman’s wishes, and Amazonian law, to be married. Trevor says to the mysteriously weakened Wonder Woman, “Beautiful, you’re only a woman, after all. . . . You need a man to protect you!” Wonder Woman relents and agrees to marry Trevor.15 Just when readers think the glory of Wonder Woman has passed, we find that she wakes from a dream and rushes off once again, to save Trevor, instead of the other way around. The dream in this issue acts as a bizzaro-world like sequence. Wonder Woman is weak and rapidly falls to the heteronormative expectations of American women at the time, but if we read her actions as the opposite of what the real Wonder Woman would do, one should read Trevor similarly. Dream Trevor plays out heteronormative actions, thus the real-world Trevor would never assume Wonder Woman, even as a woman, needs a man’s protection. Still, that relationship between Trevor and Wonder Woman, and the readers’ expectations for Trevor have changed right alongside other evolutionary steps in the narrative. To add to the quagmire of Greek play-like narratives, early on Diana finds herself her “own rival,” when as Diana she falls in love with Trevor, but Trevor only has eyes for Diana when she is Wonder Woman. Sometimes authors side-step the relationship altogether and focus Trevor’s affections for Etta Candy. At one point in the 1990s, Trevor and Candy even marry, but under the current authorship of G. Willow Wilson the relationship between Wonder Woman and Trevor is restored. Trevor, in this most recent iteration is much more like Chris Pine’s Trevor from the first Wonder Woman film. He is part of a team, not the rugged individual hero of his own story.

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As much as Wonder Woman is not a static figure, neither is Steve Trevor. In early iterations, Diana was the culmination of Marston’s unique take on feminism and Trevor was the counterpart. As new authors/creators took up the storyline of Wonder Woman, so too did they alter and evolve Trevor’s nature. When, in the wake of World War II, Diana’s revolutionary feminist vision of a peaceful world encountered the realities of postwar peace and the returning GIs, she was encouraged to “remember her place” as a woman in society. Themyscira did not win, at least not at the time, the Patriarchy did. This is clearly seen in issue 179, “Wonder Woman’s Last Battle,” (1968) when Diana is forced to “relinquish all mystic skills . . . and willingly condemn [herself] to the travails of mortals.”16 In a move similar to that of the Elves in Tolkien’s Lord of the Rings, the Amazon’s had reached the end of their lives in this plane and found themselves having to “journey to another dimension to rest and renew” their powers.17 Unable to leave Trevor behind, Diana became mortal. The ethically problematic Wonder Woman 1984 takes a different angle in looking at the relationship between Trevor, Prince, and Wonder Woman’s powers. When Wonder Woman choses to bring Trevor’s soul back by using the Dreamstone, the price she is expected to pay are her powers. In the end she retracts her wish, sending Trevor’s soul back to where it came from and allowing the man whose body he had been possessing to regain full control. Phil Owen rightly points out the problematic issues this whole storyline raises, but it is his conclusion that is perhaps most significant for this chapter’s analysis. In the end, Diana gives up Steve to save the world, but what if she had done that to save only one man, the man whose body Steve’s soul was possessing?18 Embedded in this question is the very essence of the stories involving human-god interactions. While the ancient stories may have been about gods playing puppet-master to one or two individuals, modern human-god relationships are far broader. God(s) interact with humans in sweeping ways, not in individual ways. Diana giving up Trevor for one man would have been harkening back to a time of the ancient gods. Diana giving up Trevor for all of humanity squarely situates the cinematic Wonder Woman in the narrative arc of modern human-god relationships. IMPORTANCE OF THE ETTA CANDY For Etta Candy the position of Diana Prince’s best friend was as equally complicated as the relationship with Trevor. As the human counterpart who could act as attainable and aspirational for comics-reading girls and women, she could easily be a poster child for a clinical definition of an inferiority complex. Whereas Trevor is largely intended to fulfill the role of romantic

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interest for the eponymous character he is also a male foil to the feminist superhero. Etta Candy, and more generally, the Holliday Girls, however, were consciously conceived of as both sidekicks and attainable models for modern women. In an early iteration of the Candy-Prince relationship the two, while on their way to help Candy’s brother, Mint Candy, have the following exchange: Diana: “You know Etta, you ought to cut down on the candy. It will ruin your constitution.” Etta: “Nuts deary! My constitution has room for lots of amendments.” Diana: “But Etta, if you get too fat you can’t catch a man” Etta: “Who wants to? When you’ve got a man, there’s nothing you can do with him—But candy you can eat!”19

Marston’s Candy had no interest in fitting a mold of preconceived femininity whereas Diana, in her attempt to conceal her true identity, exhibits heteronormative assumptions about women and their “true cares” in life. Marston’s body-positive Candy does not last long in the series. Robert Kanigher took over the Wonder Woman title when Marston died, and by 1950 had done away with Etta Candy as a character. Like any good comic book character, however, this did not mean that was the last of her. Gerry Conway brought her back into the storylines in the early 1980s. In his iteration she donned a close-cropped head of hair and a more slimmed down body (though by no means as slim a body as Diana’s). In this revised vision of the Wonder Woman universe, the depictions of Diana and Etta flip. Candy continues “as a female friend,” but becomes the focus of Diana’s tutelage, as “one whom Diana supports in the feminist goal of accepting herself as she is, rather than on ‘externals.’”20 In this version of the relationship Etta is very much in need of Diana’s feminist wisdom. Over dinner at a “fish and chips” shop Candy complains, “Sometimes I think you’re too good to be true, Diana. Me, I have to fight every pound—and because I love good food, not eating is sheer agony! But you . . . you could care less whether you eat and your figure shows it!” To this Diana replies: “Etta, you place entirely too high a value on externals. What matters is what’s inside a woman’s soul.”21 While Conway’s series is largely lauded for making Candy an air force officer in her own right, she lost that devil-may-care nature which made her both attainable and aspirational as a role model. Making Candy self-conscious of her weight and in love with Trevor affirms Diana as the true feminist icon in the work and thus shifts the power to be a feminist from her mortal hands to the demigod’s. This process has the effect of making a feminist life less tangibly attainable. Of course,

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Diana can say these things, the reader thinks, she’s a goddess. When Etta says them, they can be achieved by all. In the context of World War II, Candy’s place as role model was equally useful in its humanity. Mortals like Candy (and Trevor) were on very real front lines. Even though Wonder Woman and Superman were avowedly pro-American, there was nevertheless a sense that one should be wary of charismatic leaders and the “knowledge” they imparted. Candy and Trevor could act as believable role models by their virtues as “average Americans.” Of course, this reality flipped, both during the Cold War and after the emergence of the Comics Code Authority. Humans lacked the extraordinary circumstances of the hot war to express their best selves. Moreover, the charisma of superheroes remained concerning, and even there they were asked to dial back their power (see “Wonder Woman’s Last Battle” above). Candy is an on-again-off-again character for Wonder Woman writers. Most do not really know what to do with her. Often Candy is depicted as loud, brash, and straight forward, but also “a bit bizarre.”22 Over the longue durée of Wonder Woman’s existence, Candy was often dropped from the narrative, typically in those moments when Wonder Woman herself faced backlash to her feminist roots. Cynically one may argue this was because it was too “difficult” to write two strong female characters with such asymmetrical powers, but it could be equally argued that when feminist sentiment becomes the focal point of jeers and hate, having a divine/semidivine feminist ideal lends righteousness to the cause. Part of the reason Candy’s role was often reconsidered lay in response to Fredrick Werthem’s Seduction of the Innocent and the subsequent creation of the Comics Code Authority. Werthem, “predictably, didn’t like Etta or the Holliday girls.” Calling into question their role as Wonder Woman’s followers, even suggesting their “party girl” and homosexual status.23 In Trina Robbin’s 1998 “Wonder Woman: The Once and Future Story,” Etta Candy (and the Holliday Girls) are reimagined and reoriented as demigods. Etta, now Etain, is a leader among the women, who in Robbin’s version, come from an island off the coast of Ireland (perhaps drawing as mentioned before on the Isle of Skye and the history of Scáthach). Unlike Marston’s comically chubby Etta, Etain is “a large woman, but also powerful and dignified.”24 In the cinematic Wonder Woman of 2017 and 2020, Candy, played by Lucy Davis, was almost nonexistent. In the 2017 film Candy was Trevor’s suffragette secretary and in 2020 she is in a picture of Candy and Prince as an old woman. One of the few nods to the time gap between World War I and 1984 that the film legitimately presented, Candy is largely a forgotten character in the series. In the New 52 series, Candy is reimagined yet again, this time as an African American woman promoted to Commander.

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The theme of the gods using humans as playthings comes full circle in G. Willow Wilson’s reinterpretation of the title, as well. In issue 62, “The Just War Finale,” Aphrodite convinces Ares to lay down his weapons. When negotiators step to the table, they acknowledge this metanarrative noting that is it not “better to make peace than to be the pawns in a proxy war between gods and empires?” Candy, who has become the human equivalent to an Amazonian warrior sister, obverses, “there is no middle anymore—only the very big and the very small.”25 Candy, both as Commander, and in her 1940s WAACs days, often took up the fight for women’s rights in a literal way and building on Wonder Woman’s own command: “Get Strong! Earn your own living—fight for your country.”26 The very basic themes of justice, of good versus evil, are revisited in Wilson’s Wonder Woman universe. CONCLUDING THOUGHTS Like other human/mortal characters of superhero comics Steve Trevor and Etta Candy have complex narrative threads to explore, though they are rarely critically considered. Trevor’s role as Diana’s/Wonder Woman’s love interest is, much like his character more generally, a constant note in the literature. Whether Wonder Woman is subverting norms or not, her authors feel comfortable with maintaining the romantic tension between Trevor and Diana. Conversely, the friendship between Candy and Diana/Wonder Woman finds less constancy in the narrative arc in part because their friendship can easily underscore independence from man/men. One of the most important aspects of the relationship between Wonder Woman on the one hand and Trevor and Candy on the other, however is that of love. While most emphasis on love has tended to focus on its sexual dimensions—the heteronormative relationship between Trevor and Diana or the implied homosexual relationship between Diana and Candy—love carries other connotations which can be even more significant in the Wonder Woman saga. Without equating Wonder Woman with a Christ-like figure, her status as a semidivine entity suggests that the relationship between her and her human counterparts has that spiritual love like quality so closely associated with certain theological schools. Marston argued that Wonder Woman was representative of “love bonds,” which he juxtaposed with “male bonds of cruelty and destruction; between submitting to a loving superior or deity and submitting to people like the Nazis, Japs, etc.”27 If Wonder Woman, and her demigod status is inextricably linked to “submitting to a loving superior or deity,” it is not a huge leap to see Trevor as similar to Mary Magdalene and Candy and the Holliday Girls as Diana’s own disciples. Going one step further, when the message of women’s liberation and equality becomes uncomfortable to promote in a particular climate (say

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during the backlash against feminism), it is the disciples—those who demonstrate the ability of mere mortals to embody the message—who are dismissed. NOTES 1. G. Willow Wilson, No Normal, vol. 1, Ms. Marvel (Marvel, 2015). 2. Paul Cornell, Captain Britain and Mi: 13, No. 1 (Marvel, 2008). 3. The role of Maui in Disney’s Moana is another great example of the narrative importance of the demigod character. 4. Michael Uslan, The Boy Who Loved Batman (San Francisco: Chronicle Books, 2011), 101. 5. For further detail you may wish to consult: Patricia Monaghan’s The Encyclopedia of Celtic Mythology and Folklore. Infobase Publishing, 2014. 6. Phil Owen, “Let’s Talk About Steve Trevor’s Problematic Resurrection in ‘Wonder Woman 1984,’” The Warp, 3 January, 2021, www​.thewrap​.com​/lets​-talk​-about​ -steve​-trevor​-problematic​-resurrection​-in​-wonder​-woman​-1984​-handsome​-guy​-chris​ -pine​/. 7. William Moulton Marston, “Wonder Woman No 1.,” in Wonder Woman Chronicles (Summer, 1942), 107. 8. See: Virginia Woolf, Three Guineas (Read Books Ltd., 2016). 9. Ibid. 10. Ibid. 11. Noah Berlatsky, Wonder Woman (New Brunswick, NJ: Rutgers University Press, 2017), 87. 12. Jill Lepore, The Secret History of Wonder Woman (New York: Vintage Books, 2015), 216. 13. William Moulton Marston, “Sensation Comics, No. 9,” in The Wonder Woman Chronicles (New York: DC Comics, September, 1942), 184. 14. Ibid., 192. 15. Lepore, 216. 16. Denny O’Neil, “Wonder Woman’s Last Battle, No. 179, 1968” in Wonder Woman: A Celebration of 75 Years. Salem, VA: DC Comics, 2016. 117. 17. Ibid., 116. 18. Owen, “Let’s Talk About Steve Trevor’s Problematic Resurrection in ‘Wonder Woman 1984.’” 19. William Moulton Marston, “The Greatest Feat of Daring in Human History, Summer 1942,” in Wonder Woman Chronicles (DC Comics, 2010), 140. 20. Ruth McClelland-Nugent, “‘Steve Trevor, Equal?’ Wonder Woman in the Era of Second Wave Feminist Critique,” in The Ages of Wonder Woman: Essays on the Amazon Princess in Changing Times, ed. Joseph J. Darowski (Jefferson, NC: McFarland, 2014), 144. 21. Gerry Conway, Seek the Serpent—Find Death, No. 276, Wonder Woman (February 1981).

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22. Craig This, “Containing Wonder Woman: Fredric Wertham’s Battle against the Mighty Amazon,” in The Ages of Wonder Woman: Essays on the Amazon Princess in Changing Times, ed. Joseph J. Darowski (Jefferson, NC: McFarland, 2014), 34. 23. Ibid., 37. 24. Maureen Burdock, Wonder Woman: Feminist Icon or Patriarchal Pawn? (academia.edu), 11. 25. G. Willow Wilson, “The Just War Finale,” Wonder Woman, no. 62 (2018). 26. Joe Sergi, “Tales from the Code: Whatever Happened to the Amazing Amazon–Wonder Woman Bound by Censorship.” Comic Book Legal Defense Fund. 2012. cbldf.org/2012/10/tales-from-the-code-whatever-happened-to-the-amazingamazon-wonder-woman-bound-by-censorship/ 27. Lepore, 238.

Index

Alfred Pennyworth (Batman’s butler), 4, 52, 103, 179, 185–95 Allen, Barry 113–23 Amazing Fantasy #15 (comic) 8, 9, 10, 11, 12, 13, 16 The Amazing Spider-Man (2012 film &/ or franchise) 8, 12, 14, 15, 20 attorney, 27 assimilation 139, 141, 150 Aunt May (character) 9, 10, 12, 15, 16, 17, 18 Aunt May (MCU) 18–19 Avengers: Endgame (Film), 4, 68, 173, 180–81

Candy, Etta 198, 202–7 Captain America: Civil War (Film), 171, 175, 177 Captain America: The First Avenger (Film), 170–76, 179 Captain America: The Winter Soldier (Film), 171, 176–77 Classroom Management Styles, 193–94 close mentoring, 186 companion, 83–85, 88, 91 convergence culture, 72 Cordelia Chase, 49–51 critical race feminism 137, 138

Badura, Albert, 191–93 Barbara Gordon/Oracle, 95–108 Batgirl, 96, 97, 99, 100–1, 103 Batman, 65, 74–75, 97–106, 113, 140, 178, 185–95 Ben Parker/Uncle Ben (character) 8–21 Ben Parker/Uncle Ben (MCU) 8, 18–19 Birds of Prey, 96, 99, 100, 104, 107, 108 Black Canary/Dinah Lance, 96, 100–8 blindness, 25–31, 33–37 Buffy Summers, 47–58 Buffy the Vampire Slayer, 47–48, 50, 58 Camelot, 66

demigod 1, 198–200, 204–6 Diana Prince, 4, 114, 198–207 Dinah Lance/Black Canary, 96, 100–8 disability, 31, 34 disability studies, 34 district attorney, 28, 40–42 Dixon, Chuck, 99 Djalia, 66 Doctor Manhattan, 1 Doctor Who, 83–85, 87, 91 Donna Noble, 3, 84–86, 87, 92, 93 feminism 51, 137–38, 200, 203, 207; gender performance, 127, 129–30, 131–3, 135

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Index

The Flash, 4, 71, 113–23, 199–200 humanity, 2–3, 21, 29, 33, 63, 67–68, 90, 133, 135, 153–66, 188, 193, 198, 203, 205 Illuminati, 63, 67 Injustice, 63 Intersectionality, 137, 138 Iris West, 4, 113–23 Jenkins, Henry, 72–73 justice, 41 justified aggression, 31 Kram, Kathy, 187–91, 194–95 The Kree-Skrull War, 163–65 the law, 38, 40 law firm, 25–27, 31 lawyer, 34 Lois Lane, 1–2 Mansa Musa, 64 Marvel’s Agent Carter (TV Series), 169, 178–80 masculinity (gender performance), 126– 29, 131–32, 135 mental health/illness, 74–79 mission control, 95–108 monster, 50, 85, 155–59 monstrare, 158–60, 164 multiverse, 19, 67, 114, 156 Oracle/Barbara Gordon, 3–4, 95–108 paralyzed, 97, 98 participatory culture, 73 person first language, 34 Peter Parker/Spider-Man (character) 1, 7–21 power, 126–28, 131–33; magical, 125, 129–30, 134

Reginald Hudlin, 66 representation in comics 73; of mental illness 74–78 scarlet speedster, 114, 119 Scooby Gang, 48–50, 52–54, 56–58 self-efficacy, 191–93 shadow physics, 67–68 Shuri, 66–68 sidekick, 95–96, 100, 101, 105, 107–8 Simone, Gail, 98, 99 Sojourners’ Trail (game), 68 Spider-Man (2002 film &/or franchise) 8, 12, 14, 15, 19 Spider-Man: Far From Home (film) 8, 18 Steve Trevor, 198–207 Superman, 1–2, 50, 63, 74, 102, 113 Ta-Nehisi Coates, 66 Tarzan, 65 TARDIS, 84–86, 90 Teen Brigade, 160, 161, 162 Time Lord, 84, 86, 88, 90, 93 trauma, 27, 30 Ultimate Spider-Man Vol. I: Power and Responsibility (comic) 10, 11 violence, 27–33 What If . . . Aunt May Died Instead of Uncle Ben? Volume 1 #1 (comic), 17 What If . . . Spider-Man Had Stopped the Burglar Who Killed His Uncle? Volume 1 #19 (comic), 16 What If . . . Spider-Man’s Uncle Ben Had Lived? #46 (comic), 16 Willow Rosenberg, 48–56 Wonder Woman. See Diana Prince Wonder Woman (2017) 200, 202, 205 Wonder Woman 1984 (2020), 200, 203

About the Editors and Contributors

ABOUT THE EDITORS Sandra Eckard is professor of English at East Stroudsburg University where she teaches writing, education, and literature courses. In addition, Dr. Eckard is also the director of the Writing Studio, a tutoring space for student writers. Her research focuses are writing center theory, writing pedagogy, reading theory, and teaching with popular culture. Her publications include The Ties That Bind: Storytelling as a Teaching Technique in Composition Classrooms and Writing Centers; Yin and Yang in the English Classroom: Teaching with Popular Culture Texts; and the Comic Connections series from Rowman & Littlefield. Alex Romagnoli is the chair of special education and associate professor of English education at Monmouth University. In addition to teaching composition at Indiana University of Pennsylvania, Alex also taught high school English at East Stroudsburg High School South. He is the co-author of Enter the Superheroes: American Values, Culture, and the Canon of Superhero Literature and has also published various chapters and articles in both books and academic journals. His research interests include multimodality, multiliteracies, graphic novels in academic contexts, and popular culture. ABOUT THE CONTRIBUTORS Anke Marie Bock is a PhD candidate at the University of Augsburg, Germany where she also teaches, focusing on sequential art, gender studies, and theories on evil. Her doctoral project focuses on the superhero figure in the American comic of the Silver Age and on the varieties of evil. Her upcoming publications include “Hyper-Masculinity vs. Disability Doctor 211

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Donald Blake alias Thor and Their Shared Personality” as part of the global Superhero Project published by Intellect Press and “Death of the Endless and Fan Projections.” Melissa Caliendo is a middle school literacy interventionist and gifted and talented teacher in Holmdel Township Public Schools where she teaches reading and writing. Kerry Carley Rizzuto is associate professor of early childhood education and the program director for the Graduate Early Childhood Program. She has worked as a general and special education classroom teacher, a reading specialist for grades P–12, a reading recovery teacher, a staff developer, and a school administrator in New York and New Jersey. In addition to her teaching position at Monmouth University, Dr. Rizzuto has completed the Learning Disabilities Teacher-Consultant program at Monmouth University and the doctoral program in educational leadership at Rowan University. Her research interests include developing social justice dispositions in preservice teachers and developing culturally responsive pedagogical practices. Mary T. Christel taught drama, literature, media, and film courses at Adlai E. Stevenson High School and currently develops curriculum for several Chicago theaters and writes extensively on Shakespeare in popular culture. She co-edited several books on media literacy and teaching Shakespeare. Also, she contributed chapters to Yin and Yang in the English Classroom: Teaching with Popular Culture Texts (2015); Comic Connections: Reflecting on Women in Popular Culture (2017); and Comic Connections: Building Character and Theme (2019). Jacob George is a 6th grade bilingual science teacher at Long Branch Middle School in Long Branch, NJ. He recently completed the EdD program at Monmouth University and published his dissertation on bilingual instruction in middle school settings. With the support of his colleagues in higher education and in the public school system, he is continuing research on supporting bilingual students in K–2 classrooms. William O. George III is a second-year assistant professor in the Educational Leadership Department and the director of the EdD program at Monmouth University. He is also the director of three of Monmouth’s professional learning academies: Superintendents Academy, Principals’ Academy, and School Change Academy. His research interests include educational leadership and school partnerships.

About the Editors and Contributors

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Dr. Walter D. Greason is professor and chair of the Department of History at Macalester College in Saint Paul, Minnesota. His work focuses on digital history and the world economy. Winner of multiple state and national awards, Dr. Greason is most known for his work on racial violence, the preservation of the T. Thomas Fortune national historic landmark, and the Wakanda Syllabus—a curriculum based on the design elements of Marvel Studios’ Black Panther film. Eric Hasty is a middle school English teacher at Carver Middle School in Walton County Georgia. Dr. Hasty has more than twenty years’ experience teaching where he predominately works with seventh grade students. Having served as the co-director for the Red Clay Writing Project with the University of Georgia, Dr. Hasty’s research interests primarily focus on writing instruction and include exploring popular culture in the classroom as well as the role of standards and assessments in language arts instruction. Christopher Jeansonne is lecturer in the Department of Communication and Media at Rensselaer Polytechnic Institute, where he teaches courses on media and society, film and television, and superheroes. With a PhD in arts education and an MFA in film, his courses often explore the intersections of creative and critical practice. His research focuses on innovative and gameful approaches to popular media pedagogy, emphasizing negotiated agency in the classroom—he believes that “with great pedagogy comes great communal responsibility.” Jennifer Marmo has been teaching at East Stroudsburg North High School since 2003. Her role as an English teacher and Department Chairperson helps her make connections throughout the state of Pennsylvania that help her advocate and connect with her students. A lifelong fan of Star Wars and Wonder Woman as well as a fan of Buffy the Vampire Slayer, Jennifer brings pop culture into the classroom as much as possible. Ariel Mickey is a secondary special educator with Bangor Area High School in Bangor, Pennsylvania. She received a bachelor’s degree in English from East Stroudsburg University and a master’s degree in special education from Lehigh University. When she is not teaching social emotional strategies to students, Ariel is finding new ways to incorporate popular culture, comics, anime, and video games in the classroom. Wendy Gray Morales has an EdD in educational leadership from Monmouth University. She currently serves as the assistant superintendent of a New Jersey school district, as well as an adjunct professor at Monmouth

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About the Editors and Contributors

University. Dr. Morales earned a BA in radio and television from The George Washington University and an MA in history from American Public University. Her research and publications are focused on leadership and global citizenship education. Gian S. Pagnucci is Distinguished University Professor and chair of the Department of English at Indiana University of Pennsylvania. Dr. Pagnucci teaches in the English Department’s Graduate Studies in Composition and Applied Linguistics Doctoral Program. His publications include the books Enter the Superheroes: American Values, Culture, and the Canon of Superhero Literature (co-written with Alex Romagnoli) and Living the Narrative Life: Stories as a Tool for Meaning Making. He has also published about strategies for success for new academic chairs in The Department Chair. Maryanne A. Rhett is professor of Middle East and world history at Monmouth University. A world historian by training, Rhett’s most recent works: Islam in U.S. Comics at the Turn of the 20th Century; “Kamala Khan/ Ms. Marvel and Islamic Comic Book Feminism” in Gendered Defenders: Marvel Superheroines in Transmedia Spaces; and her co-authored “Diana in No-Man’s Land: Wonder Woman and the History of World War” in Drawing the Past: Comics and the Historical Imagination, with Bridget Keown, weave together her scholarly interest in the turn of the twentieth century and the nature of comics in shaping our understanding of the world around us. Margaret A. Robbins has a PhD in language and literacy education from the University of Georgia. She is a teacher-scholar at The Mount Vernon School in Atlanta, Georgia. She has peer-reviewed journal articles published in The ALAN Review, SIGNAL Journal, Gifted Child Today, Social Studies Research and Practice, and The Qualitative Report. Her research interests include comics, Young Adult literature, fandom, critical pedagogy, and writing instruction. Jennifer L. Toney is a third grade English/language arts Pennsylvania educator where she focuses on blending learning approaches to grammar and writing in a gamified writing workshop. In addition, Dr. Toney is a Graduate School of Education adjunct instructor at Westminster College. Jennifer has written as a contributing author to the Rowman & Littlefield series, “Comic Connections,” EduMatch Publishing’s “Amplified Learning: A Global Collaborative,” and the Keystone State Literacy Association journal, Pennsylvania Reads.

About the Editors and Contributors

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Stephen M. Zimmerly is assistant professor of English at the University of Indianapolis, where he teaches Young Adult literature, early American literature, twentieth century. American literature, and a first-year seminar on Stranger Things and nostalgia. He is the author of The Sidekick Comes of Age: How Young Adult Literature is Shifting the Sidekick Paradigm, also from Lexington Books.