How can politics ruin Comics


 How can politics ruin Comics

In this essay are two arguments which are connected to how politics alter how comics are written as well as how they are drawn to an a particular group of Americans. A political stance that is developed into a comics’s policy. In the essay „How Liberalism Becomes Kryptonite as Superman“ by Chuck Dixon and Paul Rivoche they issued an announcement that they were creators of superheroes, they needed to adhere to a certain critique in the way they made their comics to ensure that it is a good fit for society the policy.

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In the essay „Superhuman Error: What Dixon and Rivoche Get Wrong“ in the work of Janelle Asselin, the author claims that both writers Dixon and Rivoche are wrong , because their arguments don’t give enough background information that verify their claims. However, both writers Dixon and Rivoche are both able to express an opinion on how the politics of comics harm comics, and therefore, they must realize that the genre has morals that are capable of breaking through the current policy of comics in America.At site https://www.firstcomicsnews.com/how-politics-ruin-comics/ from Our Articles

The uproar that erupted out of Rivoche’s and Dixon’s statements caused a change in how they viewed the comic industry that required the two to think differently in their comics.

The writers‘ words say „With the rising of moral relativism „truth, justice and the American way“ are no longer relevant (500).“ They make both writers examine patriotism, and morality to their argument, however, what they don’t say is that the proof they offer in their essay accepts both of these relationships as an absolute. In the story they used as their starting point „Superman abandons his citizenship to ensure that his actions as a super-hero aren’t viewed as representative of US policies (502).

“ Which this could be thought to be the main reason behind Superman but it’s an irritation for Dixon as well as Rivoche words. They brought up a valid aspect that they could make use of by stating that Superman is an evil dictator on the page of the Injustice comic. However, they ended up giving a different angle into their argument.

This brings me to another aspect of how Janelle Asselin has a right point in the way Dixon and Rivoche are both wrong. Dixon and Rivoche’s stance on convincing their argument is very complicated. For instance, Superman and Batman did occasionally encounter Nazi and Japanese agents, but that was more of a theme for their respective film serials (and that of the Fleischer Superman television series) than the comics themselves. Which makes no sense in the way the paragraphs in the essay focus on the image of Superman and not on how mortality and patriotism can influence comics in political debate. The essay’s authors simply present a particular idea , which they then use to make an argument which is illustrated by their ideology of how the past comics have been constructed.

As we get to this point, we will discover that the two authors have misrepresented the facts in their edition. Dixon and Rivoche refuse to discuss the CCA since the purpose was to establish a hearing which could make the comics dangerous to children and contributed to juvenile delinquency. For instance, when it was stated „In the 70s in the first year in the business didn’t really alter the formula for superheroes. The CCA did change its code to allow for „sympathetic depiction of criminal behaviour . . . (and) corruption among public officials“ but not „as long as it is considered to be exceptional and that the culprit is penalized (502).“ It is an unusual declaration.

This type of claim was not providing enough details in how they felt the Comic Code Authority was making the wrong choices regarding what comics should be written. It only revealed the extent of the memory deficit that the two authors needed to make their argument.

Dixon and Rivoche revisit back to their alleged discrimination however, it’s not very convincing. It’s as if they’re developing their own ideas. For instance,“ Is Superman not the most „illegal foreigner?“. The fact that he was not born in America. United States […] he did not come to the United States on the approval of the State (507)“. That may be true but both the author’s facts are ignorant in their essay. They’re setting limits on the ways that patriotism can make a disagreement with morality which cannot be in fact the case because the loss of one or both creates the possibility of a gap in society as well as the enjoyment of the comic books. Discrimination in the comics may be considered to be a lack of moral but it show characters that can be a part of a worldwide comic that anyone can enjoy and learn the ways in which a superhero could serve as illegal immigrant, but still be able to help other people create unity in society.

Dixon and Rivoche take the bulk of this paper providing background, but never really going further with it. Even though they may show some argument in their essay , they do not give enough evidence prove that their argument is accurate instead, they are providing facts. Asselin’s argument is Asselin claim to be more right is because she makes a lot of valid points in her essay that create a comparison in how Dixon and Rivoche do not agree on how comic book politics can ruin the narrative.

The reason society works so is because they are able to show patriotism and mortality in a comic , while still being careful of certain terms that can create disagreements in the viewers of Americans.

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