When Did Superman Become So Controversial?

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Superman, once known as the epitome of human-like virtues among all superheroes (the Big Blue Boy Scout symbolizing honesty and fairness), is now stirring up quite a debate in popular culture.

As a devoted fan, I can’t help but notice the buzz surrounding Superman, portrayed by David Corenswet in the latest film, dominating social media discussions. From debates about his immigration status to interpretations that Director James Gunn intended a Superman subplot as an allegory for Israel’s conflict in Gaza, it’s clear that the Man of Steel has sparked intense conversations. Even the White House, through its official X account, joined the fray by sharing an AI-created image depicting President Trump as our beloved superhero. It’s an exciting time to be a Superman fan!

On previous occasions, experts have tried to provoke Superman by pulling at his cape, aiming to involve him, as well as comics in general, in a societal conflict.

Back in the day, when heavy metal wasn’t accused of fueling Satanism, before hip-hop took the blame for a surge in criminal activity, and long before video games became the scapegoat for mass shootings, it was comic books that sparked the initial controversy in the Pop Culture Wars – as seen through the eyes of a passionate gamer.

Comics during the late 1940s and early 1950s weren’t about Superman, Batman, or Wonder Woman. Instead, they came from new, independent publishers like EC Comics, focusing on crime and horror genres. These pioneering comics gained popularity due to their shock factor, with gruesome horror, offensive humor, and stories inspired by real-life crimes that sparked controversy among parents, clergy, and politicians. Before Elvis’s first record, comic books were the rebellious counterculture.

Every culture war has its Tipper Gore, and the comic-book moral panic was no different.

In 1954, when comic books were selling an incredible 1.2 billion copies, Dr. Fredric Wertham, both psychiatrist and media figure, published his book titled “Seduction of the Innocent“. This book was a critique of comics, where he strongly argued that they were responsible for juvenile delinquency, reading difficulties like dyslexia, and other behavioral issues in children that worried parents.

Beyond worries about imitation violence and tutorials on criminal activities, Wertham strongly criticized what he believed were exploitative advertising tactics by comic book publishers, particularly in the marketing of items like air-powered pistols, pocket knives, and whips to children. His proposed remedy? Restrict the sale of crime and horror comics to minors.

In simpler terms, even the character of Superman wasn’t immune to criticism from Wertham, a social psychiatrist with anti-fascist views. He argued that Superman, as a seemingly invincible savior, endorsed fascist ideas through his use of brute force. Wertham believed that Superman’s authoritarian power and his role as a vigilante glorified the use of force without question. Furthermore, he suggested that Superman and other superheroes encouraged children to feel helpless by promoting fantasies of omnipotence, and might contribute to juvenile delinquency by instilling desires for dominance.

In a similar vein, just like how Nazis distorted Nietzsche’s concept of the ‘Übermensch’, Wertham erroneously perceived Superman as a fascist figure. He even drew parallels between Superman’s “S” emblem and the Nazi SS insignia. However, Wertham’s hasty judgment overlooked Superman’s wartime exploits against Nazis, as well as his early portrayal as a socialist folk-hero.

Wertham’s campaign against comics sparked widespread concern across America, eventually leading to congressional investigations that forced the comic book industry to establish the Comics Code Authority, similar to the Hays Code for movies. This self-regulatory body set guidelines for what was considered appropriate content in comics, emphasizing the importance of good defeating evil.

Although Wertham didn’t actively support the Code, he played a pivotal role in its implementation, leading to a dramatic transformation in the comic-book industry overnight. Publishers of crime and horror comics were effectively phased out. The notion of superheroes was revitalized, reviving DC Comics and ushering in what became known as the Marvel Age of Comics. This shift had an enduring impact on American popular culture.

Certainly, the once-enforced Comics Code significantly shaped our understanding of Superman, particularly as depicted by Christopher Reeve’s virtuous character in Richard Donner’s 1978 film “Superman: The Movie.” This traditional interpretation of superheroes served as a foundation for the portrayal of Superman by Corenswet. As Gunn has stated, this Superman symbolizes “kindness in a world that finds kindness outdated.

To devoted comic book enthusiasts, Wertham is seen as Lex Luthor’s equivalent – the ultimate arch-nemesis – and “Seduction of the Innocent” is like kryptonite to comics. Even with his extensive progressive credentials, Wertham’s disdain for comic books has left an indelible mark on comic fans, labeling him a right-wing fanatic in their minds.

dismissing Wertham’s criticisms of comic books, particularly Superman, as mere outbursts of an elderly man angry at the wind may seem easy, but his warnings could still hold true. With both right-wing and left-wing groups using popular properties like The Punisher and Luigi from Super Mario Bros. to promote their ideologies, and some fans even admiring fascist versions of Superman like Homelander from ‘The Boys’ and Overman from ‘Invincible’, it wouldn’t be surprising if the genuine Superman character were to fall into the wrong hands, especially when he enters the public domain in 2034.

In a time filled with characters motivated by resentment, self-centered wounds, and a desire for control, believing that Superman’s simple goodness is striking a chord with cinema audiences offers a sense of comfort.

After all, wouldn’t it feel good to prove Wertham wrong?

As a gamer, I’ve always been fascinated by the intricate connections between mental health, pop culture, and violence. My work has graced the pages of esteemed publications like The New York Times, Wired, The Hollywood Reporter, and The Daily Beast, where I’ve delved deep into how the stories we consume not only mirror but also influence our societal values.

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2025-07-18 23:55