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Kidder, Orion Ussner: "Historicizing the Superhero. Alan Moore’s Supreme and Warren Ellis/John Cassaday’s Planetary." In: Journal of the Fantastic in the Arts 21.1 (2010), S. 77–96. 
Added by: joachim (09 Oct 2011 16:09:51 UTC)   Last edited by: joachim (23 Jun 2016 10:34:20 UTC)
Resource type: Journal Article
Languages: englisch
Peer reviewed
BibTeX citation key: Kidder2010a
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Categories: General
Keywords: "Planetary", "Supreme", Cassaday. John, Ellis. Warren, Großbritannien, Metaisierung, Moore. Alan, Superheld, USA
Creators: Kidder
Collection: Journal of the Fantastic in the Arts
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Abstract
This article uses Brian McHale’s theory of little narratives to demonstrate how Alan Moore et al.’s Supreme and Warren Ellis/John Cassaday’s Planetary perform useful play for their audiences: denaturalizing and historicizing the superhero genre as well as exploding what Fredric Jameson calls “the reduction of time” by employing what Linda Hutcheon identifies as complicit critique. The central mode of Supreme and Planetary is self-reflexive; thus, they are metacomics that uses techniques akin to Hutcheon’s notion of historiographical metafiction, although the histories in these comics are, of course, invented. By denaturalizing and historicizing the American comic-book superhero, these series reject two specific literary practices found in previous modes of superhero comics. Supreme and Planetary denaturalize the reduction of time and the hyper-violence-as-verisimilitude that plagued previous eras in superhero comics, but they retain the high-concept fantasy and even the hero-worship associated with superheroes; thus, they do useful play, performing an important task by, in part, giving the audience permission to indulge in a child-like sense of wonder.
  
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