NOT JUST FOR ‘KIDS AND IDIOTS’
Comic-book heroes flock to television, but why are they so popular with audiences?
When Marvel’s The Punisher debuted on Netflix recently, it was greeted with interest and anticipation.
But it arrived as just one of many comic-book adaptations. The Punisher is only the latest in a flood now comprising some 28 shows across nine broadcast, cable and streaming platforms, with no end in sight. Granted, all comic-book shows aren’t created equal.
AMC’s The Walking Dead, beset by zombies, differs from the teen adventures of Archie Andrews on The CW’s Riverdale and from Amazon’s superhero spoof The Tick.
But most exist in either of two expansive brands. One is DC, which (with the midseason arrival of Black Lightning on The CW) will be represented by nine shows on three networks. The other is Marvel with 13 shows on six outlets, chiefly Netflix, which hosts a halfdozen of its own.
That all adds up to more spandex getups than you’d find in an aerobics class. Before concluding superheroes have taken over the small screen, it’s worth noting a few things.
TV has always chased trends. Think: cop shows, doctor shows, lawyer shows. Way back in fall of 1959, more than two dozen Westerns were airing on just three broadcast networks. That would dwarf the current slate of comic book shows as a percentage of the 500-odd scripted original primetime series airing in 2017.
“Comics-related television series have always been a mainstay of television,” says Paul Levinson, professor of communications and media studies at Fordham University.
“Now it may seem like they’re all over the place. But that’s because there’s television all over the place.”
Even so, an upsurge of comicbased shows the past few years is unmistakable. Consider The CW, where, without Smallville after a decade’s run, no such shows were in its lineup in fall 2011. But after a subsequent year-by-year buildup, it will boast seven this season.
Along the way, comics-related movies proliferated, while in October 2010, The Walking Dead made clear that a comic-book property could be a TV smash.
By then, the CGI (computer graphics imagery) that any superhero show requires had become more sophisticated yet sufficiently affordable for weekly TV productions.
Conversely, superhero series were a perfect TV showcase for those ever-more-eye-popping special effects in a way that more realistic cop dramas or sitcoms could never be.
Meanwhile, the launch of more and more channels, especially streaming platforms with their limitless capacity, signalled an escalating need to create content.
“With this extraordinary appetite for source material, decades of comic books offered material just waiting to be plucked,” says Robert Thompson, director of Syracuse University’s Bleier Center for Television & Popular Culture.
Even better, they’re perfectly formatted for turning into TV.
“A comic book is like a TV storyboard: visual dialogue in frames,” Thompson says. “It’s so perfectly transferable! Comic books make the life of a network development executive really, really easy.”
But none of this accounts for the apparently insatiable hunger for these shows with which the audience receives them.
“All of it, one some level, is escapism,” explains Brett Rogers, classics professor at the University of Puget Sound. “If I’m watching Jessica Jones for an hour, I’m not dealing with some real thing in my life. But the flip side is that comic-book-inspired shows can be spaces for thinking through some serious questions: Jessica Jones is an opportunity to explore sexual violence and post-traumatic stress disorder.
“The comic book industry famously has had to fight the stigma of being for just for children and idiots,” he says.
But as gifted “kids and idiots” like Joss Whedon and Kevin Smith came of age and made waves by nurturing a comics ethos across multiple media including TV, comics gained new gravitas, respect and urgency.
“It’s now being normalized as shared myth of mainstream culture,” Rogers said.
“It’s a common myth shared between readers and viewers, adolescents and adults, comics and film buffs alike — NOT just kids’ culture.”
Such shows, like the comics that spawned them, can offer moral clarity in a confounding world.
“It’s much easier to identify the heroes and villains, the good guys versus the bad guys, than it is on other television shows,” says Levinson.
“By and large, the good characters and heroes endure and triumph over adversity.”
Glen Weldon, author of Superman: The Authorized Biography, says, “they represent our best selves. We are meant to look at them and strive to be more like them”