THECOMICSASA SOCIALFORCE

Sidonie
Matsner
Gruenberg
Abouttheonlythingthatis uniquein theemergence
of the
is thefactthattheycameuponus
comicsas a socialphenomenon
before
the"guardians
dimensions
silently
andgrewtoconsiderable
werearoused
ofourculture"
bythem.
or of communication,
Everynew mediumof expression
like
arouse
new
is
to
scientific
or
invention,likdy
opevery
discovery
Andnotalonefromthosewhohavea stakein keeping
position.
reasonsto
as theyalwayswere.If we cannotfindtechnical
things
showthata newdevicewillnotwork-as SimonNewcombdid
machines
wereimpossible-we
toprovethatheavier-than-air
can
makeupgoodsocialandmoralreasons.
Weridiculed
"canned"
music.
Wespeaktodayofthe"legitimate"
thedeepemotional
butwithout
theater,
remembering
implications
oftheadjective.
We rageattheradioas a broadcaster
ofeverything
hasdoneso muchto refine
thatis "vulgar."
Andyetnothing
the
generalappreciations
of musicaland dramatic
expression
as the
thecinema,
phonograph,
andtheradio.
Thehistory
oftheradioillustrates
beautifully
thealmostuniversalreluctance
toacceptcertain
kindsofinnovations.
Sending
signals
acrosstheoceanwithout
a wirewasexciting
news;andthesteady
of theinstrument
improvements
werefaithfully
reported
bythe
newspapers.
Butforyearsthenewspapers
systematically
ignored
theestablished
programs
ofbroadcasting
stations,
and cameonly
grudgingly
togivethemthespacewarranted
bythepublic'sgrowing interest.
Todayno newspaper
wouldomitlistings,
reviews,
andotherinformation
aboutradio.
I happened
tobein Hollywood
whenthetalking
"movies"
were
justaroundthecorner.
A writer
whohad had somesuccesswith
silentpictures
wastrying
toconvince
me thatthe"talkies"
would

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THE COMICS AS A SOCIAL FORCE

205

he asked,"a photograph
"Can youimagine,"
neverbe important.
I
but not convincing.
speakingto you?"That was impressive,
factor.
wouldbea decisive
couldnotseethatmylackofimagination
ofexpression
We arelikelytofindeachnewformortechnique
inadequatebecauseit cannotdo whatearliermediahavedone.
thescreenplaybecauseit cannotdo whatliving
We disparage
concernwithradio
we postpone
actorsdo behindthefootlights;
to add whatwe missin them.
playswhilewaitingfortelevision
thatturn
oreffectiveness
ofperformance
Thatis,we applycriteria
andsignifiandwe ignorewhatis distinctive
outtobe irrelevant;
medium.
new
cantinthe
tothe
threats
peoplediscussthecomicsas serious
Todayvarious
men
and
public-spirited
Manyintelligent
bestin ourcivilization.
tostopthis
all forces
tomuster
andwomenseemtofeelitnecessary
mean-andwhat
Butjustwhatdoesthisphenomenon
"menace."
signify?
hostility
doesall thisexcited
atthecrudeofthecomicsisdirected
criticism
Themostfrequent
level
immature
relatively
at
the
drama,
and
drawings
nessoftheir
thecomicsaredeIn short,
sentiments.
humor,
oftheirlanguage,
As
sophistication. art,manyof the
delicacy,
in subtlety,
ficient
elementary.
theyare extremely
comicsare crude.As literature,
Like
terms.
in thesimplest
Theydealwithideasand sentiments
rightand wrong,
theyareflat-theyshowchiefly
theirpictures,
clearredsandgreensforstopand go signals;
blacksandwhites,
tones
of subtler
to saynothing
at grays,
theymakelittleattempt
and tints.It is futileto disputeabouttaste,butwe do needto
thatseemtoberelevant.
basicprinciples
certain
recognize
ScienceMustBe Democratic

outcomes
wecanputtheconcrete
inourkindofcivilization
First,
ofmass
techniques
the
through
only
use
practical
to
ofourscience
massdistribution.
thisinvolves
reasons
Butforeconomic
production.

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206

THE JOURNAL OF EDUCATIONAL SOCIOLOGY

To attainmassdistribution,
comicsor newspapers
or machine
products
generally
tendtoaddress
themselves
comtothesmallest
mondenominator.
Forthecomics,
as formotion
pictures
andtheradio,thismeans
an effort
to supplyentertainment.
Withoutregardto hisprivate
theproducer
motives,
has to reachthelargest
possiblepublic.At
howhighor how low a levelof intellectual,
aesthetic,
social,or
emotional
thecomicsshouldbe pitched,
maturity
nobodycantell
in advance.As in thecompetitions
of a freemarket,
we can say
onlythatsomeofferings
appealtomorepeoplethanothers-whetheritisbooksorplaysorsongsorfabrics.
CultureDiffuses
Slowly

Thisbrings
ustothesecondconsideration.
In every
kindofcivilizationittakesa lifetime
toestablish
a setofnewideasordevices
orpractices.
Thecomicsstarted
outas amusing
as motion
toys,
picturesandtheradiohaddone.Theyhadnosocialresponsibility
and
no ambition
tobecomea socialforce;theymerely
reachedoutfor
thelargest
possible
market.
indetailandgradually
Theyimproved
acquiredsomeofthoserefinements
thatwedemandofanycultural
instrument
through
theveryeffort
to establish
themselves;
they
havebeenobligedto adjustthemselves
to criticisms
and oppositionsandcompetitions
inordertomakethemselves
acceptable
and
approved.
Ittooktimeformotion
pictures
andtheradiotomakethetransitionfromthestatusofmereentertainment
to thatof a powerful
socialdevicecapableof influencing
thepublic.It was necessary
thata wholegeneration,
a mediumwithout
accepting
prejudice,
growup witha thorough
of itsdistinctive
mastery
devicesand
symbols
andidiom.Motionpictures
cameofagewhenyoungmen
andwomengenerally
werethoroughly
athomeinthemedium,
and
wereablenotalonetoenjoyand"understand"
theiridiombutto
criticize
itandtouseit.Now we havewriters
whocango beyond

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THE COMICS AS A SOCIAL FORCE

207

whoknowthepossibilities
as well
imitating
stageplaysandactors
who
as thelimitations
ofthescreenplay;and we havedirectors
tothestage.Andsowith
control
a multitude
ofeffects
quiteforeign
thematuring
thesame
ofradio.The comicshaveto go through
stages.Theyhavebarelybegunto showwhatis possiblewhen
writers
andartists
havelearnedtousetheformforexpressing
their
fortransmitting
theirenthusiasm,
ownideasandsentiments,
their
ownlikesanddislikes.
We Proceed
from
WhereWe Are

A third
consideration
isthis,
whether
wearetrying
tosellgadgets
ortoadvancecivilization,
theimmediate
is: Whatcanthe
question
publicaccept,understand,
value?For theconcernof thesocial
critic
orofthestatesman
isnothow"vulgar"
thetastetowhichour
massproducers
appealorhow awkward
theeffort,
buthowrapidly
thepubliccanmovefrom
wherever
ithappens
tobeatanymoment
tothehighest
within
reaches
itsinherent
capacities.
cultureand raisingstandards,
Teachers,bentupon diffusing
sometimes
manifested
theirdisapproval
ofthecomicsbyostentatiouslytearingup captured
copiesof thecontraband
whichthe
children
had hiddenbehindthegeography
books.Theybehaved
like other
cultivated
persons
whomadenoattempt
toconcealtheir
evenforchildrenseenperusing
contempt
thecomics.Butthese
attitudes
andtheirmanifestations
didnothing
toraisethelevelof
understanding
ortasteorvalueamongthechildren.
Theymerely
madethechildren
feelthattherewassomething
wrongwiththem
tomeritsuchviolent
disapproval,
or thattheteachers
weremean
kill-joys.
Theyobstructed
thechildren's
growth
in discrimination,
butofcoursenotforall thechildren,
norinequaldegrees
forthose
whomtheydidinfluence.
Elsewhere
in thissymposium
thereareconsidered
thedevelopmentandmagnitude
ofthecomicsas a form,
as anindustry,
andas

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208

THE JOURNAL OF EDUCATIONAL SOCIOLOGY

a direct
impactuponmillions
ofourfellowcitizens
ofvarious
ages.
Thereis alsoan analysis
ofthepsychological
factors
whichmake
thisformso acceptable
to a widerangeofagesas wellas ofintellectualandcultural
maturity.
Thoseofus whosomehow
escaped
thatimpactduringtheyearsin whichthecomicswerebecoming
a socialproblem
maybeastonished
attherelatively
highintellectual
andcultural
levelsoftheirpatrons.
Thislatterpointwasbrought
hometomethrough
myowninterest
in thepossibleinfluence
of
thecomicsuponchildren;
butI confess
thatI was notprepared
whenoneofmysonstoldmethatatthetraining
campformedical
personnel
mostofthemenregularly
reachedmoreeagerly
forthe
newcomicsthanforanyother
reading
matter.
ToysBecomeTools

Itistheveryqualities
forwhichthecomics
havebeencondemned
bycritics
thatgivethemforceandmakethemsocially
significant.
For it is thesequalitiesthatenabledthemto catchtheattention
andholdtheinterest
ofthechildren
whoformso largea partof
theirreading
public;anditisthesequalities
thattodaymakethem
moreeasilyapprehended
bypeopleofallagesthanpolitical
speeches
orsermons
orthemost"popular"
ofnewspapers
orfiction.
Butinsofarasthecomics
doappealtogreater
multitudes
andinso
faras theydopenetrate
thethoughts
andsentiments
ofmultitudes,
andaffect
attitudes,
theyconstitute
a socialforcethatgoesbeyond
differences
in"taste."
Forbetter
orforworse,
theyaremorepotent
thanmanyofourotherinstruments
forinfluencing
people'sunderstanding
and attitudes.
The instrument
itselfneedno longerbe
judgedasgoodorbad,whether
intasteorinmorals;itisimportant
becauseit is potent.We have to judge onlytheuses to whichit is

put-likedynamite,
orprinting,
orscience
itself.
The comicscan servetheeducator
as wellas thepropagandist,
themissionary
aswellastheadvertiser.
Theyhavetakentheir
place
alongsidenewspapers
and photography,
motionpictures
and the

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THE COMICS AS A SOCIAL FORCE

209

radio.And,liketheseothers,
theyhavebecomean integral
partof
ofourculture.
theprogressive
democratization
HowComicsInfluence

wehavelookedtotheschools
todevelopa national
Fora century
as
unityin ourheterogeneous
population
byinculcating
children,
theygrowup,withcommonconcepts,
sentidoctrines,
attitudes,
tobenomorethantoys,
ments.
Butthecomics,
havebeen
claiming
more
than
the
doingjustthat,reaching
continuously
school,more
thanthenewspapers.
Manyrejectthetool,unabletoseeanygood
to theobsceneor
comingfromitsuse.Theypoint,forexample,
material
lascivious
thatappearsin somecomicsas an indication
"bad"influences
ofthepotentially
ofthismedium,
although
theydo
notobjecttobooksingeneralortopainting
in generalmerely
becausesomebooksorsomepaintings
oraesthetically
contain
morally
objectionable
features.
Or theydenounce
theimpossible
performancesofthefantastic
heroesas symbols
of"power"suchas we fear
inthefascists,
oras excursions
intothesupernatural,
although
they
acceptand evenpraisemen'sefforts
to express
theirdreamsand
wishesortograspwhatliesbeyond,
folkartorsagas.
through
Butwhatmessage
doesthisstrange
newmedium
Itthere
convey?
indeedanyunity
initbeyond
thefactthatitdoesappealtosomany?
We canexpectnomoreunityinthecontent
ofthecomicsthanwe
haveintheoutput
oftheprinting
pressoroftheradio.Someyears
ago therewassomeagitation
becausein oneofthecomics"Little
OrphanAnnie"hadalignedherself
against
strikes.
Everymedium,
perhapsevenwhenit is used"onlyforentertainment,"
is likely
tocarrydoctrinal
orsectarian
implications.
We haveto recognize
thatandwe havetocombattheoffensive
teachings
as bestwe can,
forofcoursewe do notwanta censored
or controlled
expression,
whatever
themedium.
The comicssharewithall theothermediaofcommunication
a
readyadaptability
toallkindsofpurposes,
including
thatofexpress-

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2IO

THE JOURNAL OF EDUCATIONAL SOCIOLOGY

ing viewsand attitudes,

and prejudices.
preferences
Artists
and
writers
brought
up onthecomicshavebecomeincreasingly
aware
ofthepotency
oftheirmediumand theyhaveattempted
increasandtheir
inglytousetheir
skillswithconscious
gifts
purpose.
WhentheArmyandNavyweredeveloping
theirtraining
programstheycalledin themakers
ofcomicsalongwiththemakers
ofbooksandposters,
cartoons
animated
and soundpictures,
radio
scripts
anddramatics.
Thisdoesnotmeanthatall thevarious
ways
ofreaching
andinfluencing
peopleareinterchangeable.
It means
thatsomekindofteaching
canbe donemoreeasilyormoreeffecwithoneinstrument
tively
thanwithanother,
andthatsomepeople
are moreeasilyreachedthrough
one mediumthanthrough
another.It meansat anyratethatmoreis neededin thetraining
of
soldiers
thanspokenorders
andprinted
pages.
Comicsas Education

Alongwithalltheother
mediaforpropaganda
andpublicity
and
promotion,
thecomicsaresellingwarstamps,
collecting
salvage,
enlisting
volunteers
forthevariousservices
and foressential
war
work,andfurthering
thewareffort
inotherways.But,inaddition,
thecomicsarenowproducing
a considerable
bodyofsincere
and
effective
educational
materials
reaching
in manydifferent
directions.
Someofthisisincidental
toalready
established
series
inwhich
theendless
adventures
ofa heroconstitute
thecentral
theme.
Others
aredeliberately
designed
toconvey
a specialmessage,
moreorless
orthrough
directly,
moreorlessdramatic
entertainment.
All-American
Comicspublished
"The Twain ShallMeet,"on
racialmisunderstandings
andprejudices
amongpeoples.Thiswas
produced
andpublished
in "ComicCavalcade"withthecooperationoftheEastandWestAssociation,
ofwhichPearlBuckis the
president.
The samecompanydevoted"The Justice
Societyof
America"
initsAll-Star
Comicstoa series
itcalled"A Cureforthe
World."This is in thetradition
of themiracleworkers:"The

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THE COMICS AS A SOCIAL FORCE

211

duetofearandmisandprejudices
finding
injustice
Hawkman,"
theages,playsfastandloosewithtimeand
through
understanding
ofa secondbefore
withhispalsalwaysa fraction
space;he arrives
thelessonthat
justiceand to emphasize
it is toolatetovindicate
orreligion.
ofrace,color,
forall-all,regardless
meansjustice
justice
the
by
from
Stories
Bible,"published
The longseriesof"Picture
in a "bookof232 pagesin fullcolor,"
M. C. Gaines,culminates
underan
toldchronologically,
Old Testament
theentire
presenting
and churchleadersof
educators
councilofdistinguished
advisory
denominations.
various
offactual
havemadea feature
as thenameimplies,
TrueComics,
the
The titlessuggest
and fantasy.
to fiction
in contrast
material,
socialstudhistory,
events,
purpose-current
educational
pervading
On healthtopicsthere
ourSouthAmerican
neighbors.
ies,science,
Infantile
Paralyare"TheCommonCold"and"TheFightAgainst
sis."War themesincludeRadarand "How the Radio Guides
ofHistory,"
based
also"Scape-Goats
Planes."Theyhavepublished
"TheyGottheBlame,"published
on KennethGould'spamphlet
Committee
of theYoung Men'sChristian
by theInternational
whichpeothrough
Thisdealswiththesuperstitions
Associations.
and withpersecuand witchburning,
theircruelties
ple justified
makinga plea forunityand
of minorities,
tionand terrorizing
sameproduceris entitled
Another
comic
the
by
brotherhood.
pamphlet
Races,"basedonthePublicAffairs
"ThereAreNo Master
andGeneWeltfish.
byRuthBenedict
for
showtheuseofthecomics'technique
The aboveexamples
with
Otherexperiments
orsocialpurposes.
cleareducational
fairly
byusingthe
thesocialimplications
toconvey
themediumattempt
special
starting
formswithout
familiar
characters
and adventure
The
a
moral.
point
toteacha lessonor
calculated
seriesobviously
byThe FawcettPublicapublished
MasterComics,forexample,
WarBoardin develwiththeWriters'
Inc.,havecooperated
tions,
and educaideasforpopularinformation
opingmanyimportant

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2I2

THE JOURNAL OF EDUCATIONAL SOCIOLOGY

themarvels
anddiscovers
tion.The herojoinsthewarworkers
of
andhefights
He
heboostsmorale,
industrial
production,
sabotage.
findsNegroesworking
alongside
whitcsinfinecomradeship.
The wondersof Radarare exploited
through
amazingadventuresof"TheInternational
whodetects
andpunishes
Policeman,"
villains
on a globalscale,on thesideoftheAllies.Getting
around
sorapidly,
hediscovers
thesignificance
andlust
ofgreed,violence,
forpowerasmaking
forfascism;
andhemakesa strong
indictment
without
oflynching
anypreaching.
underthesameauspices,
showstheyoungsters
"CaptainMarvel,"
thatthecourtis thechildren's
friend
andthatthepolicearethere
tohelpthem,nottointerfere
withwhattheywantto do. He organizeshisfollowers
intoa clubthatconverts
potential
criminals
intogoodcitizens
themexperience
byletting
thesatisfactions
and
"innerrewards"
andservice.
ofcooperation
He carries
outan ambitious
thatembraces
theentire
program
homefront,
fromselling
war stampsto combating
FifthColumnists
and ordinary
crooks
andsaboteurs.
He finds
frauds
andracketeers
androughnecks,
and
hefrustrates
themin theirevilpurposes,
orherecaptures
themfor
thegoodlife.Andmostofhisadventures
fitrightin withournationalpurpose.
"CaptainMidnight,"
another
heroin thisfamily,
elucidates
theimportance
of inflation
(to thesatisfaction
of the
OWI), opposesNazi propaganda,
circumvents
and fights
homegrownfascists.
The Educational
Department
a series
oftheCIO hasundertaken
of "coloredpicturestrips"and has issuedits firstcomic,"With
It hasalsocooperated
Victory."
withothergroupsin a verywide
distribution
of"Scape-Goats
of History."
Mr.KermitEbyofthe
CIO writes:"We findthatinformation
presented
in thisform
makesa morepopularappealthanthesamefactspresented
in
pamphlet
form,
as is evidenced
bytheioooooo distribution
ofa
to125,ooodistribution
comicstripascompared
ofourmost
popular
pamphlet."

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THE COMICS AS A SOCIAL FORCE

213

itisapparent
thatrandom
canvass,
makinga systematic
Without
comicsdisclosemanyotherserieswith
samplesof commercial
a subject
thatdoesnotlend
Thereishardly
possibilities.
educational
thismedium.
Someofthepublishers
through
itself
topresentation
havefelta responsiofcomicmagazines
whoissuelargenumbers
and youngpeopleamong
bilitytowardthemillionsof children
of
theactivecounselandcooperation
andhavesought
theirreaders
agencies.
andeducational
educators
withwords,buttheyobthecomicscombine
pictures
In form,
can do and alsofar
fallfarshortofthebestthatpictures
viously
ofthebestthatwordscando,andtheyareverymuchslower
short
thecomicshavecometobe as quickas
thantheradio.However,
quickerthanthecinema;andfor
pressandsomewhat
theprinting
theyhavebecomealmostuniversally
tothemselves
reasons
peculiar
As a mediumofexpression
theyarecomingto be at
intelligible.
much
reasons,
leastas freeas thepressand,forpurelyeconomic
moresothanthecinemaandtheradio.
and
of statesmen
The comicsdeservetheseriousconsideration
andsociologists,
psychologists
politicians
andpublicists,
educators,
about,whattheywant,
arethinking
fortheyreflect
whatmillions
ofsocialsignifiwhattheyfear,andhowtheyfeelaboutmatters
cance.
is Directorof theChild StudyAssociationof America;authorof
SidonieM. Gruenberg
We,theParents,FavoriteStoriesOld and New, and otherbooks.

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