The Art of War Comics

War sells. It has been bought, sold and commodified since the preservation of history. War is in the production of weapons people use and collect, governmental motives, the tickets to movies and sporting events people attend, and in the pages of the books we read. War can even be found in our comic books. Even today, most people think of the spandex stereotype when hearing “comic books.” It’s not very surprising that this is the case. Despite the proliferation and growing popularity of the genius marketing term, “graphic novel,” which has aided the public relations campaign to legitimize the comic book (to the chagrin of some creators and fans alike), it is superheroes that come to mind when comics are brought up.

"My father conceived the idea of taking

the Sunday pages, folding them over,

and folding them once again, and ending

up with something roughly the size of

todays comic book"

-William M. Gaines

With Superhero stories flooding today’s theatres and making their way to television screens, it’s no surprise that people associate comics with superheroes. Though, comics have since moved from originally being refolded inserts of Our Gang, Krazy Kat and Popeye to be found in the pages of newspapers, marketed to get the pennies from young pockets after relieving the nickels from their parents' pockets. Soon after the basic shape and tone of the medium was formed, the war story became one of the biggest sellers. Along with romance and funny animal stories, there was a time when comics that focused on war occupied the same number of hands that superhero stories originally did. This was a time when war was commonly found in the newspaper and on the radio waves. War served as topic for discussion and was shown in a glamorous light through posters and propaganda scattered around the small towns and big cities of early America. For its time, it only made sense that the genre of war stories would be a popular one before the blood and gore found in the horror genre took focus and before the superhero came to the rescue. This is a time where the heroes and roles of make-believe for children were policemen, fire fighters, cowboys and soldiers.

In the later 20th century, most American comic books were mostly free of war. Taking a look into comics with science fiction elements, readers certainly observe the presence of war. Alien races the Fantastic Four encounter are often at war. The Kree / Skrull war is something the Marvel universe may forever keep in the stars to serve as a potential plot device for future stories. Though, with many superhero books, war is nothing more than a plot device. With the exception of a one-shot here and a mini-series there to bring back The Unknown Soldier or Enemy Ace for a look into the history of comics and the role war stories played in it (meta stories), war stories did not serve much of a role in comic shops past the 70's. There are exceptions to be found with titles like Real War Stories (2 issue by Eclipse Comics, one published in '87 and one in '91), which brought together some of comics most refined talent to tell moving and true stories that may not have been given an audience elsewhere. But these stories moved beyond the more common war stories of soldiers staying alive while working a path through enemy lines. These stories attempted to show another side of war by giving accounts of the post war lives of soldiers.

Now in the the 21st Century, which can also be referred to as a post 9/11 culture, the war story is something much more present in comics. More than the war story, the focus is now on war itself. After the attack, Marvel, DC and many other publishers began to print books with covers that acknowledged the events. Some titles told stories that focused on the actual event with one-shots and larger anthologies printed to raise funds for workers and families. With The Amazing Spider-Man, a character with a movie about to be released, Marvel printed issue  #36 with a cover that was all black except for it’s title , number, and company logo. The story turned the New York City that was ravaged and covered in the clouds of dust and cement of the real world into the NYC Spider-Man fights the Vulture and takes pictures as a photographer, the same NYC that houses a large portion of Marvel characters. The issue had Spider-Man take a look at the damage of his city and wonder how this could happen. Careful not to make a political statement, the story focused on one man trying to wrap his mind around the events and regret not being able help, a sentiment shared by many readers.

Five years after 9/11, Marvel decided to print Civil War.  To call Marvel’s Civil War event a war story would not be completely accurate. At best, it’s an allegory that has one super villain using his powers to cause a destructive and violent act towards civilians. The super villain attack is a way to examine the current role of the superhero (namely Captain America) in relation to the role they played in the 1940’s. In this story, the U.S. government forces superheroes to register themselves as weapons of mass destructions by using their real identities. When certain heroes refuse, they flee or get taken to detention camps. The story reflects the Patriot Act and Guantanamo Bay, both very serious issues to be sure. Still, this is not a war story, it’s a story that uses war, and the real life events that come about because of it, as a vehicle to tell a different story, a story that questions the role of the superhero in a world where super villains still exist and do evil, a story that questions why evil is still active 70 years after the superhero put on a mask. Even then, that’s a question Alan Moore has examined twice with Watchman and Miracleman.

So where else is war found in the pages of comics in the post 9/11 world? Marvel didn't own patriotism, even though they owned Captain America, the personification of American Patriotism. Also, Marvel wasn't the only publisher of war comics in the height of its popularity, not even close. They have Nick Fury and his Howling Commandos and The ‘Nam. Aside from those titles, war stories could commonly be found in anthology books published by Dell and EC. As far as recurring titles are concerned, many war comics were published by Charlton and continued by DC when they bought and incorporated those Charlton properties. Giving Garth Ennis and other talent the go ahead, DC did bring back the genre of war stories to comics for a brief period in the form of the mini-series, but they didn't stay around long. While Ennis is a big name in the world of comics, he would be able to keep the classic war story alive moving to publishers like Dynamite (Battle Fields), that work with hot and historically proven franchise properties and give well known creative talent a lot  of creative freedom.

By and large, the war story genre wasn't around in comics after the late 80’s. With Marvel’s Civil War, it was a domestic act that unsettled the state of operations superheroes faced, and to a point, a story that exploited real life events. The story was not a war story, it was about superheroes struggling with their role in society. Still, it wasn't since Captain America and Superman took to the battlefield to punch Hitler and his allied forces that superheroes had a role in war comics (Marvel knocked him in '41, DC smacked him '42). To get war stories in comics after the 70's, you had to abandoned Marvel, DC and superheroes, you had to walk away from fiction altogether. To get war stories in comics, you had to look towards the independently published work of Joe Sacco, Art Spiegelman and Marjane Satrapi. In those titles, comics began to reshape the war story.

In the early 80’s Spigelman began to tell his own war story. There is no muscular hero with a gun, ripped fatigues and unstoppable attitude propelling Maus. It’s a war story that doesn't tell itself through the people fighting or waging the war, but the victims, the people caught in the middle, trying to survive and make sense of their situation. Spanning the time between WWII and the late 70’s, Maus is a literary comic. The story is framed and on the surface focuses on the author interviewing his father to get the story of  a survivor of Germany's concentration camps. The story proves Spiegelman to be a master or comics narrative techniques in the ways he seamlessly flows between his father's story and his own. Maus is a modern war story that doesn't aim to show battles of violence, but the internal struggles that follow war. Maus is a tale of how the author deals with the history of his family, his role as both a father and a son, and how the war he didn’t experience first hand haunts him in adulthood. Maus started a trend in reforming not only what stories comics could tell, but how comics took on the war story. Showing wasn't enough for the new school of creators. It was now time to take a deeper look at war, going past the battles by looking at them directly, then taking a look around them.

The war story changed its face in the 80’s. Spiegelman’s Maus may be the reason for this, but it wasn't the only book to take the nonfiction approach of telling war stories.  A journalist by trade, Joe Sacco would make comics from the interviews and experiences he had while in and around Bosnia and Iraq. Spiegelman played with the idea of the biography and created a comics work that is something very different than a biography. Maus became a very unique story and document about history, family and self aware art. Sacco, on the other hand, isn't interested in creating a biography with his war stories. What Joe Sacco does, and does very well, is work with the concepts and form of journalism. As with Maus, it’s not always the war itself that plays a character, it’s the post war reality and anxiety-fueled moments of rest that play as silent and loud character that emphasize motivations of characters, whether he’s a war profiteer (The Fixer), or she’s an orphaned refugee (Palestine), making sense of her new environment. War and its aftermath is ever present and forcing people to make the decisions they make, and the stories of the people that live through it is at the heart of what Joe Sacco writes about.

In her own books, Satrapi does not play with genre. Persepolis is an autobiography that focuses on the life of its author. The book takes the real life setting and atmosphere of Iran during the time of the Islamic Revolution. While the story isn't about Iran and Iraq fighting one another, the book focuses on first hand experiences of war similar to Sacco and Spiegelman. The reader is shown the life of a girl living in a culture under a time of change, where her setting forces values and behavior onto her before she leaves her home and moves to Paris to start living a new life. Persepolis is the story of how war can affect the development of a girl and the displacement it puts her though in order  to find her own path. It’s a story of how to navigate through and around war, where the role of war in the story is less graphic and unsettling to the reader than both a classic war story and books like Maus and Palestine. Like Sacco and Spiegelman, the work is built on serious topics that just happen to be in comics form.

Private Pyle is not made for war

With those works, it's evident the war story didn't completely leave American comics, it just changed its face. This face lift may have come from the tastes of comic book readers, it may have come from a cultural shift. Taking a step back from comics to look at movies that handle the war story, there’s Apocalypse Now and  Full Metal Jacket that exit the 70’s and head to the 80’s to show horrific sides of war. While there is combat in the movies, the most troubling parts of the movies, the scenes with the most character development and attention to detail, show soldiers that can't handle the realities of war, people that break down and turn to drugs and experience mental decay instead of kill the bad guy, with the seriousness of John Wayne, before coming back home to be greeted by the wives they left behind. These are the creations of people that lived through war and combat footage being broadcast on nightly news. These were the war stories of people that had no interest in making movies without a message. Perhaps the same can be said of the new wave of war stories looked at above. And perhaps this is the reason for the new wave of war comics being put out now.

While Saga, one of today’s most popular comics*, doesn't focus on a war and the people fighting in the trenches, like the classic war story, it revolves around a war and it exists because of one, focusing on characters living in the middle of one as they are ricocheted around the solar system because of it. Like the new war stories mentioned above, Saga wears more hats than war story. In many ways, It borrows from the titles mentioned above. 

Unlike the other new war stories mentioned, Saga is a work of fiction. The humanoid characters that have fallen in love are not real, the war being waged by their separate species did not happen, and the narrator a reader watches grow up was never really be born. Like the other comics and movies mentioned, Saga does not only tell a story of war, but of a family, the love between two people unlikely to share such a relationship, culture clashes, and self discovery all done with an interesting narrative technique. Like Civil War, Brian K. Vaughan is writing an allegory, an allegory of war, but one that isn't limited to the superhero genre, one that is afforded the opportunity and broad movements of a story that can take its genre in whatever direction it wants. If assigned a genre, Saga would be a Science Fiction / Fantasy story. But where Civil War used its allegorical aspects to tell a superhero story, Saga uses it’s SciFi / Fantasy genre to tell a story about lives and how they are affected by war to fully form its allegory. 

Though it’s current tone and pacing suggest this story has every intention of having a solid set of acts, complete with a planned ending, it’s unknown how long Saga will go. When it begins, there are plot points forming very fast in order to catch-up the reader on the world the story takes place. There are two characters from opposite species (Alana and Marko) birthing their love child. They are on the run. Both have dissent from their military posts and are different species. And the person narrating is their mixed species child. If this story came out in a different time, it may just be another science fiction story that deals with issues that a reader can relate to, but it didn’t. This is a story being written while several neighboring countries in the middle east continue to fight wars that have gone on for a very long time, while ruling governments and their motivations and tactics may not always seem so obvious. Also, this story is an American comic, directed to an adult audience (there’s cursing, sex and graphic violence) being presented to a post 9/11 culture aware of, if not terrible well versed in, world events.

If the story was set on Earth, which it could be, and the two main characters were human instead of humanoids, say Alana was Indian and Marko a Pakastani (or one was Israeli while the other Palestinian, China/Japan, N. Korea/S. Korea, etc.) and the story starts off in Kashmir before the characters take their child away to parts of China, or another land neutral in the dispute, the story would start to resemble one Sacco may cover, a displaced family Spiegelman may write about, or a little girl Satrapi may want to guide to self discovery. And if this story was set on earth, all three of them could do a great job of telling their story, but it doesn’t. This story never happened, the people never existed and the war never took place. But it could have. This story could be happening right now, but not without the war moving it from chapter to chapter.

*Saga does not sell as well as other titles by Marvel and DC. Though, the numbers don’t always account for the digital sales and, this being a book that is drawn digitally, I don’t think most would have a problem reading it on a screen. Which is to say, I bet there's a lot of readers not tallied in Diamonds estimation.  Also, with collected volumes, single issues are not as popular as they used to be. While Saga #24 didn’t place in the top 100 comics sold in January, there’s an alternative way to look at it. With four collections available, the title sold  22,233 units, with volumes 1, 2 and 3 placing in the top 8 for sales of trades. 

Fan Fiction, Genre and Plot

Genre is a big problem in literary theory. It's as big a problem in literary theory as it is in music. There's a level of constraint in how readers and critics approach a work when terms of designation are introduced. By introducing these terms, there's an element of expectation and the potential for complaints when a work doesn't form itself using all the expected elements. Playing the "what if" game is a staple of science fiction. If SF is "what if," then maybe fantasy is "only if." Stories in the world of Literature come about from asking "what if" and then thinking, "now only if," but present the finding in different ways, modes that reflect the same world as the reader. This is the contingency that keeps literature from becoming sci-fi or fantasy. That notion confuses genre when a reader isn't foreign to or othered by the worlds of the book. But it's possible to read a science fiction book that seems so plausible in its futurist notions that there's no need for suspension of disbelief.

This suggests that genre can be as much a temporal construct as it is a form to build upon. An example would be a point in humanity's future where the problems presented in a work such as Philip K. Dick's, "Do Androids Dream of Electric Sheep?," manifest themselves from a natural progression in humanity: If, in the next 100 years, humanity creates artificial intelligence while letting the environment continue to degrade to the point where acid rain gets caustic, plant life struggles to maintain and animal life follows to the point of extinction, the world of Androids would not be so fantastic but realistic. This is to say, if the predictions in a Science Fiction work of the past manifest, the work becomes a reflection of the present in the same way a work of contemporary literature does. A scientific analog would be when a theory turns into a law of physics after being proven correct. While a theory at the time of inception, it develops into something else, a law, without a single change occurring to its makeup.

Asking "what if" does not always create science fiction. It may be the cornerstone in the genre, but it's also the cornerstone of Fan Fiction, a genre that can't help but open a can of worms that each have their own tinier can. It is a genre that exists as an extension of previously published works, characters that someone else fleshed out and created. While it may not be considered Fan Fiction, Jean Rhys's Wide Sargasso Sea won several literary awards even though it exists as a prequel to Charlotte Bronte's Jane Eyre. Alan Moore's The League of Extraordinary Gentlemen takes several characters from the annals of genre fiction, such as Captain Nemo, the Invisible Man and many others, and puts them in a Victorian setting where technology grew faster than it historically did. Is League now a steampunk book because of these elements or is it a work of fan fiction because it's the product of a person building something with other people's characters? Or, is League something else entirely because it takes existing characters and puts them together in a new world, an alternate England? But Moore is a creator with a very distinct tone, present when he writes Watchman or WildC.A.T.S. This begs the question of whether or not Moore has the right to be called an auteur, the word that seems to be the answer a lot of people (academics) use when trying to solve the problem of genre. While auteur is properly designated to filmmakers and cinematic criticism, it has been applied to all forms of artists that create a body of work that suggest the creation of an entirely new genre.

Before we go on, let's take a look at an entry for Fan Fiction provided by Dictionary.com:

noun

a fictional account written by a fan of a show, movie, book, or video game to explore themes and ideas that will not or cannot be explored via the originating medium[...]

According to the definition, both Wide Sargasso Sea and League are fan fiction. Both books take previously created characters out of the (cold dead) hands of the original creators and puts them into the hands of fans to tell different stories. With League, the use of Dr . Jekyll/Mr. Hyde could even be seen as bringing a character back to life since the original work suggested the character was dead... though by the words of an untrustworthy narrator, the town drunk. According to the definition, most super hero comics are also fan fiction, as are all Star Trek and X-Files novels. By the definition, every issue of Spider-Man and X-Men not written by Stan Lee is also fan fiction, as are all non Bob Kane Batman stories. This shows franchise as something that has a life blood of fan fiction.

But fan fiction can't be seen as a genre. While a science fiction novel can, in time, no longer appear to represent an alternative once the theories are proofs, thus seem more like literature, fan fiction seems more like an original story only after the original text is lost to the people reading it. How many readers know that Family Matters, (the actual name of the Urkle show), is a spin-off (thus a fan fiction) of Perfect Strangers? Never hear of Perfect Strangers? That's the point. This shows fan fiction to be something as fluid and personal as language (colloquialisms), a way to recreate things to make them relevant, keep them alive. When looking at fan fiction this way, it's easy to view it as a force of literary memetics. As long as the ideas behind the characters, what they stand for, is relevant, more fan fiction will come of it. But, the second it becomes old hat, it turns into cultural fodder or gets stored in the memory of the readers and their computers.

Fan Fiction is truly the reincarnation of the imagination. While the proliferation of fan fiction may owe a lot to the internet, it does so poetically. If the internet does become some sort of common ground, where everyone shares ideas and creations for free (like I'm doing right now --screw you academia!), our forms of entertainment may become quality works that do more than blur the line between the entertainer and the fan, they may erase the line altogether.