In fact, the superhero variety grew out of the Depression period. It spawned a demand for tales of heroic action and the costumed crusaders were designed to satisfy these tastes and needs (...). They lived in a Manichean world: they were always ready to avert catastrophes, help damsels in distress, prevent crimes being committed or injustice being done, and to save the world (...).
Captain America (...) grew out of that era and such notions. His first adventures depicted him as battling the forces of the Third Reich and Japan. (...) "Cap", as he is affectionately named, was explicitly a product and agent of the U.S. military, and remained America's most powerful piece of wartime comic-book propaganda. Wearing the symbols of America all over himself, Cap became the ultimate patriotic hero and a national figure: he represented a national desire more than an individualistic one (...).
Although the early 1960 did not see any major changes in the overall structure of comics in regards of narration, there was a conscious effort on the part of some writers to give characters a greater sense of "realism" and "individuality" (...). Like the soldiers of the United States in Vietnam (1959-1975), he feels alone in a strange land. (...)
On the eve of 9/11, the superhero idea, through many years of censorship, is just beginning to enter a world that is closer to the one we know. After realizing that the methods of the past are no longer appropriate. Captain America is finally adjusting himself to the times (...). I will finish on these words from Captain America v.4 number 11, 2003: "I remember a time when it was easy to feel pride in 'this' country. When 'this' country celebrated victories of its loyal soldiers. When 'this' country was my country right or wrong. And most of the time it was wright. But times have changed, haven't they?"
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Adapting to a changing world, Christian Dailly ( recorded by
goinggrey
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Northern
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Corrected Textmore↓In fact, the superhero variety grew out of the Depression period. It spawned a demand for tales of heroic action and the costumed crusaders were designed to satisfy these tastes and needs (...). They lived in a Manichean world: they were always ready to avert catastrophes, help damsels in distress, prevent crimes being committed or injustice being done, and to save the world (...).
Captain America (...) grew out of that era and such notions. His first adventures depicted him as battling the forces of the Third Reich and Japan. (...) "Cap", as he is affectionately named, was explicitly a product and agent of the U.S. military, and remained America's most powerful piece of wartime comic-book propaganda. Wearing the symbols of America all over himself, Cap became the ultimate patriotic hero and a national figure: he represented a national desire more than an individualistic one (...).
Although the early 1960s did not see any major changes in the overall structure of comics in regards of narration, there was a conscious effort on the part of some writers to give characters a greater sense of "realism" and "individuality" (...). Like the soldiers of the United States in Vietnam (1959-1975), he feels alone in a strange land. (...)
On the eve of 9/11, the superhero idea, through many years of censorship, is just beginning to enter a world that is closer to the one we know, after realizing that the methods of the past are no longer appropriate. Captain America is finally adjusting himself to the times (...). I will finish on these words from Captain America v.4 number 11, 2003: "I remember a time when it was easy to feel pride in 'this' country. When 'this' country celebrated victories of its loyal soldiers. When 'this' country was my country right or wrong. And most of the time it was wright. But times have changed, haven't they?"
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