Marvel Comics Got Super Political

From their inception, Marvel Comics have often reflected political and social issues. For instance, the initial issue published in 1939 showcases the Sub-Mariner, who was driven into conflict with the human world due to humanity’s destructive weapons testing. This mirrors a race of beings going to war against each other because of an ecological disaster caused by apathy and atomic experimentation during the Cold War era. Furthermore, the Skrulls, introduced in Fantastic Four #1 (1961), are representative shape-shifters that symbolized the Red Scare, a fear of Communism and foreign infiltration prevalent in America following the USSR’s launch of Sputnik satellite. Lastly, Captain America, Marvel’s famous character, was created to fight against the Nazi threat, with his superhuman abilities stemming from a Super Soldier Serum designed to combat Germany’s ambition to create an army of superhumans for the Third Reich.

Marvel Comics has showcased diverse characters representing under-represented groups in comics like Luke Cage, Ms. Marvel, and Uncanny X-Men, and tackled real-world issues such as political corruption, gender discrimination, and classism, offering insightful commentary on our society and human nature. Here are seven instances where Marvel Comics took action to the streets.

Peter Parker the Spectacular Spider-Man #9, “The Flames of Protest”

In 1977, Bill Mantlo, Sal Buscema, and Mike Eposito utilized the energy of protests against racial injustice to introduce Marvel Comics’ White Tiger into the storyline of Peter Parker’s Spectacular Spider-Man. On his campus at Empire State University, Peter interacts with a group of demonstrators expressing discontent over the university’s proposal to shut down Night School classes, which mostly served underprivileged students from diverse ethnic backgrounds. The protesters argue that the closure is driven by greed and discrimination, as it unfairly impacts people of color. Black and Hispanic students hold signs such as “Education denies us nothing” and “Open the doors!”, respectively. As the protests are overseen by campus security, one protester humorously comments, “Why can you pay for officers but not for us?

In an uncanny twist of events, demonstrations, racial undertones, and political activism echo strangely within this decades-old comic book series as Columbia University in New York City serves as the model for Stan Lee’s fictional Empire State. Ironically, student protests sparked change in a manner similar to what was depicted in PPTSS nearly 50 years ago. The past year has seen political upheaval and harsh consequences engulf Columbia University, mirroring the scenario portrayed in the comic. History seems to be repeating itself, and the world is calling for heroes. As White Tiger contemplated in the 1970s, “Everything we fought for in the ’60s is being taken away—it’s the same old battle all over again. We need a symbol, something to rally around. One of our own…to give us pride.

Wolverine #41 (2006), “The Package”

As a die-hard comic book fan, particularly of Wolverine, I’ve always found his stories to be grittier and more visually intense compared to other Marvel comics. This is largely due to the moral gray areas he often finds himself in, and his relentless determination to fight against insurmountable odds, no matter the cost. The 2006 issue #41 of Wolverine, titled “The Package,” is a prime example of this darker side, offering a narrative that’s as thought-provoking as it is beautifully illustrated. In this harrowing masterpiece, writer Stuart Moore and artist C.P. Smith have truly outdone themselves.

Initially, Black Panther asks Wolverine to join him on an undercover assignment in the troubled African nation of Zwartheid. Infamous for its brutal history marked by Western corruption, widespread slaughter, forced amputations, and child conscription as soldiers, this country is often referred to as the “most wretched on Earth.” The story unfolds gruesome scenes such as rape used as a weapon, intentional spread of HIV, and genocidal massacres. As Wolverine navigates through the compound, he encounters even darker acts. The narrative paints a grim picture that forces readers to grapple with the harsh truths of war and societal breakdown.

Eventually, an unwilling Logan is ambushed by a group of aggressive young soldiers wielding automatic firearms. Baring his claws, he protectively guards a secret parcel – which turns out to be the newborn child of Zwartheid’s late leader, and the nation’s last vestige of hope for its future.

A Moment of Silence – 9/11 Tribute (2002)

In 2001, following the collapse of the World Trade Center, Marvel Comics published a charity project titled “A Moment of Silence – Honoring the Heroes of September 11th“. Introduced by Mayor Rudolph W. Giuliani, this comic book depicted the brave actions of ordinary individuals such as firefighters, family members, and concerned citizens who showed extraordinary selflessness in the midst of unimaginable tragedy and devastation. The creative team behind it included notable talents like Kevin Smith, Brian Michael Bendis, John Romita Jr., and Joe Quesada.

A work by Bill Jemas, Mark Bagley, and Scott Hanna underscores the selfless act of Anthony Savas, a seasoned building inspector for the Port Authority, who braved a fierce fire to rescue strangers whose lives he had not previously touched. These heartrending tales are narrated sans dialogue, relying instead on poignant illustrations that portray empathy and the devastation that brought down the world’s tallest structures, conveying an eloquent silence.

God Loves Man Kills (1982)

In simpler terms, English author Samuel Johnson once said that religion can be a refuge for unscrupulous individuals. The X-Men comic book series, “God Loves, Man Kills,” published in the early 1980s, delves into this idea by examining religious intolerance and bigotry prevalent in American society during the late 20th century. Much like oppressed groups in real life, mutants in the Marvel universe are often subjected to discrimination based on factors such as race, gender, sexuality, religion, or social class. This comic, written by Chris Claremont and illustrated by Brent Eric Anderson, strongly reflects the idea that the X-Men strive to protect a world that dislikes and fears them. When extreme religious beliefs are used to persecute the most vulnerable in society and traditional methods fail, it is once again up to the X-Men to lead the charge against such fanaticism.

In a deceitful manner, disguising hatred as scripture from the Bible, Reverend William Stryker, a cunning and controlling evangelist, advocates violence towards mutants, claiming that their mutations are not divine but demonic. With Nightcrawler serving as his tormentor and mutants as his targets of blame, Stryker brainwashes his followers through faith and brainwashing, using fear-mongering language on the innocent and vulnerable. The methods of religious persecutions and false accusations have long been used by demagogues and villains to manipulate people, as depicted in the comic series “God Loves, Man Kills“. This work warns us about why such individuals should be opposed—at all costs.

Civil War (2006)

The “Civil War” storyline delves into themes of morality, resistance, and the dangers of compliance and compromise. Similarly contentious is the Superhuman Registration Act (SRA), which sowed discord among superhumans, forcing mutant against mutant. Politically driven and harsh, the SRA aimed to control enhanced individuals, requiring heroes to reveal their identities or face imprisonment for unlawfully possessing weapons of catastrophic potential. Contemplate the impact of this Act on an innocent such as Aunt May, and the potential consequences if the deranged Green Goblin discovers that Peter Parker is his arch-nemesis, Spider-Man, with family waiting at home.

In the 2006 movie “Civil War”, Captain America’s captivating stance, rooted in the Bill of Rights and American values enshrined in the U.S. Constitution, leads him to oppose Tony Stark and the powerful machinery of the government apparatus. With authorities hot on his trail and Stark technology monitoring from both the skies and the streets, the patriotic Avenger and his group of rebels wage a battle for the shared ideals that symbolize America – at least in the comic books.

Alpha Flight #106 (1992)

The Canadian hero team, Alpha Flight, is a multifaceted group featuring a sorceress, a genuine Bigfoot, and the daring and acrobatic Northstar – one of the mutant siblings within the group. Originating from the X-Men series by Chris Claremont and John Byrne, this squad takes on both villains and heroes in the Canadian tundra, occasionally venturing south to persuade or abduct their former ally, Wolverine. Similar to their American counterparts in Westchester, the characters in Alpha Flight offer creators a chance to delve into unexplored realms and push limits, such as mysticism, self-discovery, and for the first time in comic history, depicting homosexuality both artistically and within society.

During the height of confusion and unfounded prejudice towards AIDS victims, the cover of Alpha Flight #106, titled “The Walking Wounded,” subtly hints at an unprecedented portrayal of Northstar. In this issue, a child left behind is discovered by the capricious Northstar, who later learns that the child has HIV. Moved by compassion, Northstar, also known as Jean-Paul Beaubier, takes in the sick child. Given his wealth, celebrity status, and national heroism, the media becomes captivated by the story. Despite countless victims of HIV within the gay community, the media instead sensationalizes the “innocence” of the child, with headlines proclaiming that “all of Canada has taken to heart the struggle of this AIDS-afflicted infant.

One father, deeply saddened by his son’s ostracization due to AIDS, expresses anger towards the media spectacle and Northstar specifically. His sorrow and anger escalate, leading him to lash out at the mutant in an emotionally charged state. “My son, Michael, was also a victim of AIDS,” he says. “But because he was gay, people didn’t allow him the assumption of innocence. There were no public announcements, no charity events, no regular news updates. He was just one of thousands who lost their lives to AIDS last year.” Michael’s death went largely unnoticed, a statistic in a struggle against misinformation and neglect.

In an extraordinary instance within the Marvel universe, Northstar boldly states, “Don’t try to educate me about the struggles faced by the LGBTQ+ community. I’ve lived them myself. While I typically keep my personal life private for those not directly involved—I am gay.” This confession empowers Northstar to openly express his sexuality and, by embracing himself, he utilizes his fame to advocate for a hidden and vulnerable group. With this disclosure, Northstar can proudly assert that “AIDS is not exclusive to the LGBTQ+ community” and “it’s long overdue that we discuss AIDS, its victims, those who perish and those of us left mourning.

Legacy Virus

The tale of the Legacy Virus encompasses several years within Marvel lore, starting with X-Force in 1993 and continuing to influence the mutant community until around the early 2000s. This lethal pandemic initially targeted those carrying the X-gene, but later evolved into a virus capable of infecting humans as well. Tragically, hundreds of mutants succumbed to the Legacy Virus. A poignant moment in this narrative comes when Colossus from the X-Men sacrifices his life in Uncanny X-Men #390 to save both humanity and mutantkind from this virus. In a chilling parallel to real-life events, this fictional virus mirrors the terrifying reality of the HIV outbreak and the AIDS epidemic that began in the 1980s, ultimately claiming over 42.3 million lives globally.

In my perspective, as a movie reviewer, the Legacy Virus unfolds like an eerie reflection of actual pandemics, starting as a baffling affliction that seemingly targets individuals haphazardly. As the disease spreads rapidly and the death toll escalates, an apprehensive and misinformed populace resorts to blame games and clings to conspiracy theories. Amidst the chaos of misinformation, whispers start about the virus being engineered to wipe out mutants, only for it to adapt and infect humans too. In this survival battle, two communities that could have supported each other instead choose division and destruction due to a lack of empathy and knowledge.

2025-04-05 21:14