In a survey published this month, the Claims Conference estimated that 66 percent of American millennials do not know what Auschwitz was. The news comes as alarming, as we live in an age in which access to resources and information on the history of World War II and the Holocaust is virtually immediate.

Just a few decades ago, the Shoah was hardly part of the public discourse in the States, and was rarely included in school curricula. Many American young people, in the ’60s through the ’80s, learned for the first time about the topic where they learned a lot about good and evil: comic books.

A new book entitled We Spoke Out: Comic Books and the Holocaust, written and curated by comic book legend Neal Adams, historian Rafael Medoff, and cartoonist Craig Yoe, delves on the history of Nazi-related comic book stories, publishing a selection of those strips with rich background and commentary. Nazis, reads the book, “have been among the most ubiquitous of comic book evildoers.”

Adams and Medoff joined forces in 2008 to create a comic shedding light on the fight of Jewish artist and Holocaust survivor Dina Babbitt to reclaim the artwork she had been forced to create as a prisoner in Auschwitz from the Auschwitz Museum in Poland.

While working on the Babbitt case, the two decided to collect those older strips and compile them in a book.

“These are stories that people don’t know about,” Adams said in an interview. The stories, featuring superheroes like Batman, Superman, and Captain America, come from some of the best publishers, including the “Big Two”: DC Comics and Marvel.

Adams was ten years old when his family moved from the United States to West Germany; his father was serving in the US Army’s occupying forces. While there, Adams was shown three hours of raw footage taken during the liberation of the Nazi concentration camps.

“I couldn’t speak to my mother for a week,” he recalled. “Watching that footage took the life out of me . . . It was horrible.” His long-standing commitment to raise awareness of the Holocaust comes from that traumatic experience.

“People think of comic books as entertainment,” said Rafael Medoff. “They don’t realize that, in addition, over the years they have tackled very serious issues. When I was growing up in the 1970s, I encountered topics like racism, drug abuse, the environment.” Some of those stories were illustrated by Neal Adams himself.

In regards to the Holocaust, American comic books “shared a very important lesson from history that was not being taught in schools,” continued Medoff. “Most Holocaust survivors were still not talking about their experiences, and you didn’t have movies like Schindler’s List.”

The first Nazi-related strips, published in the 1950s, did not always refer to the Jews as the victims of the Holocaust. One story, for instance, called them “prisoners of war,” though Adams claimed that this grave omission was not the norm. At the end of the day, comics were a very “Jewish” medium, he explained, many of their creators being Jewish.

These strips taught their readers about Auschwitz, Kristallnacht, the Warsaw Ghetto Uprising, and many more chapters from the history of the Shoah.

One of these stories, “From The Ashes,” was featured in a 1979 issue of Captain America. In an interview published in the book, Don Perlin, one of the artists, said that he had questioned the idea of depicting the Holocaust in comic books: “The Holocaust was real, people were tortured and murdered—was it appropriate to have Captain America come in and beat up all the Nazis and save everyone?” But he ultimately answered his own question: “If even one person started to think about the Holocaust because of a comic strip that I worked on, it was worthwhile.”

While the authors completed the book, the fight to get Dina Babbitt’s portraits back from Poland is still on. International lawyers and a coalition of artists have been committed in pressuring the museum to return them to Babbitt’s family, but the museum has been inflexible.

Josef Mengele forced Babbitt to paint those portraits—which ended up saving the artist’s and her mother’s lives. It’s startling that the museum won’t return them. But the comic creators and historians of We Spoke Out understand the significance of art and human dignity.

“In the world, you’re not just fighting evil,” Adams said. “You’re fighting stupidity and ignorance, too.”

Image courtesy of IDW Publishing/Yoe Books. Art by Joe Kubert. All DC comic artwork, its characters and related elements are trademarks of and copyright DC Comics or their respective owners

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DC Comics has a new star of his own comic, and instead of going the superhero route, they’ve launched a historical fiction title, exploring homosexuality, art, and political oppression in 1950s America. But the lead character may be familiar to you: It’s Snagglepuss.

That’s right, Snagglepuss, the pepto-bismol colored Hanna-Barbera property most known for exclaiming, “Heavens to Murgatroyd!” now features (following a one-off special last year) in Exit Stage Left: The Snagglepuss Chronicles. Here, he’s a star playwright, the darling of the theatre scene and an adoring public. But Snagglepuss has a secret— he’s gay (he’s clearly based off of Tennessee Williams), and in 1953, being outed would mark the end of his career and respectability. With so much at stake, how is he supposed to weather the increasingly stormy political climate? The renowned wit is used to keeping his head down when it counts, but McCarthyism may be moving in…

Because of the artsy New York milieu, Snagglepuss (his close friends call him S.P.) constantly rubs shoulders with Jewish intelligentsia— in the first issue alone, he comforts Lillian Hellman after a harrowing testimony before HUAC, he drinks with Dorothy Parker at the Algonquin Hotel (did you know she had Jewish ancestry?), and he introduces his friends to Peggy Guggenheim. (For the record, these characters aren’t rendered as animals; it’s a world of many species. For example, Snagglepuss’s wife is a lion like him, but his lover is a Cuban human emigre who fled his country when police violence against homosexuals worsened.)

Plus, another running thread throughout the issue is the execution of Julius and Ethel Rosenberg. As in, you even see them strapped to the electric chair, raising the stakes for raising the ire of the government. This may legally be a Hanna-Barbera story, but there’s a reason it’s rated T for Teen.

The writer of this series is Mark Russell, whose other works include comic retellings of the Bible, and a Flintstones comic similar in subversive concept to The Snagglepuss Chronicles. And what’s remarkable about the comic is how earnest it is— the reader is immediately told to accept that 1953 New York has both capital punishment and Huckleberry Hound (yes, the blue dog makes an appearance). In fact, the more absurd elements of the anthropomorphic animals balance out the grim subject matter— if Snagglepuss were human, the comic might be heavy-handed (and the realistic, if slightly uncanny valley art-style helps).

Half-nostalgia, half-critique, Snagglepuss functions in an important locale for American Jewish history. That may not be the point of the comic, but it’s certainly present, intended or no. We can only hope Arthur Miller shows up next.

Issue 2 of Exit Stage Left: The Snagglepuss Chronicles hits stands early February, so catch up, and get ready.

Cover art by Ben Caldwell

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If you haven’t heard of Len Wein, you still definitely know his work. The comics writer and editor died yesterday at the age of 69, after nearly fifty years in the industry. A member of the Will Eisner Comic Book Hall of Fame, Wein may not be a household name like Stan Lee, but he was hugely important just the same, and respected amongst his peers and comic fans alike.

Jews are predominantly associated with the Golden and Silver Age of comics (as in, the early days through 1970), but Wein is a reminder that they’re remained a relevant presence in the industry since.

Let’s go over just a few of his contributions to the world of comics.

• He created Swamp Thing, the horror comic with a brain, a heart, and multiple live-action adaptations.
• He resurrected the X-Men in 1975 after a hiatus of the iconic superhero mutant team. This included one of the first ever appearances of Wolverine, and the introduction of the hugely popular Storm, Colossus, and Nightcrawler.
• He edited Watchmen, arguably the most important graphic novel of all time.

But let’s take a moment to appreciate one of his more obscure moments— because it’s not every comics writer who decides to bring the Golem to the page.

Strange Tales was a Marvel Anthology series. In Issue #174, from 1974 (during Wein’s very brief gig as Marvel’s editor-in-chief), Wein wrote a story about a Jewish archeologist, Abraham Adamson, who brings young relatives on a desert archeological dig to find the Golem of Prague; Adamson makes it very explicit that the Golem’s purpose is to protect Jews from their enemies. Adamson succeeds in finding the legend, and when he is murdered (by uncomfortable Arab stereotypes, granted), the Golem returns to life and goes on a killing spree, saving Adamson’s family.

The story continued over several issues, and Wein also edited the issue in which Golem fights the Thing, which is amazing because the Thing is Jewish (though it wasn’t explicit at the time) and also looks quite like a Golem himself.

The Golem is not a hugely important comics character, nor does he only appear in this one franchise (a number of writers, Jewish and not, have put the clay creature on the page). But 1974 was a bit early for explicitly Jewish content in comics— this was before Magneto “came out” as Jewish, before Kitty Pryde, before Israeli superhero Sabra.

This story isn’t hugely important (nor is it the first time the Golem appeared in the pages of a comic), but it’s a sort of missing link in how Jewish comics creators expressed their heritage in their works. There had to have been a transitional phase, from needing your your Nazi-punching hero to look so All-American he could have been Aryan to having a girl ward off Dracula with a Magen David. Some of Wein’s famous creations, like Colossus and Swamp Thing, are arguably Golem-like, but here’s the Jewish version of the story in the flesh— er, clay. On the journey from subtext to text, we have this strange little story.

Len Wein was a nerdy Jewish kid who loves superhero comics in the 1950s, and eventually took on the mantle of creation himself. It’s the American Jewish chain of tradition.

Image of Wein via Wikimedia. Comic panels from Strange Tales #174.

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This week marks the centennial of Jack “King” Kirby, arguably the most important contributor to the art form of comics of all-time. Kirby, born Jacob Kurtzberg (the son of Jewish immigrants; you know the drill), is mostly known for his iconic artwork for Marvel Comics. Working with the likes of Jewish writers Joe Simon and Stan Lee, Kirby co-created the X-Men, the Fantastic Four, and Captain America, just to name a few that have had staying power. But some of Kirby’s most fascinating, innovative work is (comparatively) less-well known, coming after he switched to Marvel’s competitor, DC, and began to write as well as draw, now in more direct control over his creations.

The main result of this DC period is the New Gods, a complex, space operatic struggle of good-and-evil, with an assembly of weird characters in convoluted conflicts. It’s certainly not as simply accessible as, say, Captain America punching Hitler in the face. But it’s still brilliant.

Jewcy is on a summer residency! To read this piece, and our others for July and August 2017, go to our big sister site, Tablet Magazine!

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This past weekend in Brooklyn was FlameCon, aka “The World’s Largest Queer Comic Con.”

Think panels on subjects like the future of queer media or the intersection of queer comics and sex education, stickers for attendees with their preferred pronouns, and a lot of gender-bending cosplay. And it’s a perfect spiritual successor to comics’ early days as a Jewish-created medium.

Jewcy is on a summer residency! To read this piece, and our others for July and August 2017, go to our big sister site, Tablet Magazine!

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The trailer is out for Professor Marston and the Wonder Women, and you have to go watch it immediately. It may not have Gal Gadot, but the film about Wonder Woman’s creator and his family looks amazing.

Honestly, the story is hard to resist. Comics writer William Moulton Marston had a background in psychology, but tried his hand at everything, from film-writing to inventing the lie detector (well, it’s a bit more complicated than that, but that’s how he liked to put it). But his personal life was especially ripe for the retelling; he was polyamorous, and lived with his wife, Elizabeth Holloway, and another female partner, Olive Byrne, as well as all their children, under one roof.

…

Jewcy is on a summer residency! To read this piece, and our others for July and August 2017, go to our big sister site, Tablet Magazine!

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Friends, allow me to introduce you to your new favorite comic book bad guy: Marvel Comics’ Zohar. If you’re wondering based on his name whether or not he has anything to do with kabbalah, you are in for a real treat.

Zohar only appears in two comic issues (Moon Knight #37 and 38), but he makes an impression on any Jewish comic reader. Zohar is the alter-ego of Reuben Davis, a rabbi (yes, rabbi!) from Chicago. His creator is Alan Zelenetz, who is not only a comic book writer and film producer, but also a one time principal at the Yeshiva of Flatbush. So unlike nearly every other pop-cultural invocation of kabbalah, the man actually knew what he was writing.

The comic in which Zohar appears is Moon Knight. The titular superhero was born Marc Spector, to one rabbi Elias, Davis’s mentor. Spector is estranged from his family and Jewish background, but he returns to Chicago for Elias’s funeral, and that’s where the trouble with Zohar begins.

Basically, Davis is a student of kabbalah who goes mad with grief and egomania when his teacher dies, and decides that completely reasonable things to do would be:

1. Fully run with the Jewish mysticism he has learned, which amount to actual super-powers (mostly zapping people with electricity), and go by the masked alter-ego Zohar.
2. Steal his mentor’s body to raise it from the dead (well, turns out you can reanimate a body, but it’s more zombie-like than a full-on resurrection).
3. Murder people whom he dislikes, like anyone else learning Jewish mysticism.
4. Purge people’s sins with their deaths, somehow? That doesn’t seem super Jewish, but OK.

Zohar’s costume is completely bonkers. He only appears in two issues, but he apparently has multiple costumes, one in a dark blue/black, and the other red. They robe has some great trimming, and a nice belt, accompanying jewelry, and even has a gratuitous cape! The pointed hood, though, is uncomfortable. Seriously, Reuben, were you even thinking about the implications? Apparently not, because he also stooped to hiring hoodlums to vandalize a Jewish cemetery, swastikas included, to distract from corpse-stealing.

Zohar tries to murder Marc, not realizing that the latter has a secret identity of his own. He then tries to murder a class of Jewish studies students learning kabbalah, at which he also seems to fail pretty spectacularly. Moon Knight suits up and confronts Zohar, whom he defeats by using a mirror to deflect the villain’s mystic zaps. (Others take care of the resurrected Elias by erasing the Aleph from “Emet” written on his forehead, the same way you take down a Golem.)

Zohar is apprehended by the police, and drained of his powers once his mentor is re-buried (or so we think! Please, someone bring him back). But while his stint at supervillainy may be short-lived, he’s a natural at the rhetoric (seriously, even unconscious he still manages to wax poetic). Let’s celebrate him with a few choice monologues:

“The secrets are safe with me, Father of my soul, and through them mankind shall be brought to penance. Tomorrow I begin with Marc Spector. Your sinful and rebellious son must atone by blood.”

“In the name of heaven, do you think Zohar will allow this mystic wisdom to pass into the hands of the sinful and ignorant? Know the divine spark of justice, mortal woman, but live to warn others!”

“No! These secrets must be mine and mine alone! Neither shall the fool know my name nor the void of wisdom utter its majesty!”

“Ha! Violence filleth the mouth of the wicked, but the prating fool shall fall! Now shall I cleanse you all– in the words of the prophet, ‘Though your sins be red as scarlet they shall be white as snow, though they be red like crimson they shall be as wool.'”

In conclusion, bring back Zohar, Jewish mystic melodramatic supervillain of our hearts.

Image of Zohar from Moon Knight #37. Via the Marvel database.

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If your local comic book nerd is upset today, it’s not because of Logan (no, that’s actually supposed to be good!). It’s because Magneto has been linked with Hydra.

If your eyes glazed over, no worries— Magneto is an all-important comic book character, sometimes villain, sometimes hero, and Hydra is a Big, Evil, Secret organization that has roots back in Nazi Germany. And what happened specifically? To promote an upcoming comic release, Secret Empire, Marvel has released a cover featuring Magneto as a member of Hydra.

Yes, that’s all that this is about… so far. It’s not clear if this cover indicates that the Master of Magnetism is actually joining the ranks of Hydra, or if it’s just a visual metaphor— as in, no one is safe! Who could possibly be a double agent? It could be the last person you expected! (And yes, Magneto would be the last person you’d expect.)

Fans were overall upset when Marvel was revealed that good ol’ Captain America was secretly a Hydra Agent— after all, Steve Rogers himself is in part a Jewish metaphor, invented for the purpose of punching Hitler in the face. And Cap wasn’t even the first time a Jewish-coded character was unfortunately linked with the fascist international conspiracy (remember Senator Stern?).

But Magneto is on a whole other level— he’s explicitly Jewish, a Holocaust survivor, and no friend of Hydra up to this point (Oh, look, here’s a multi-part blog detailing all of the many, many times Magneto hated the Red Skull’s gross Nazi butt).

The writer of Secret Empire is Nick Spencer, who has insinuated on Twitter that this is really a marketing ploy, but he is the same author who made Cap a Hydra agent, so anything’s possible. Marvel knew what they were doing with this cover (drawn by Dan More); shock value was the point. Who knows how far that might extend?

Regardless, fans on social media are giving Spencer a piece of their minds.  They’re mad.

Secret Empire premieres next month, and certainly Marvel hopes that your rage brings you to a local comic book store to pick up a copy and find out if Magneto is, in fact, Nazi-adjacent now. In any case, they get free publicity in articles like this one.

Image by Dan Mora

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There have been multiple heroes to take on the mantle of the Flash, but this one is Barry Allen, the man with super-speed who still can’t catch a break (seriously, he has an entire section of his Wikipedia page entitled “Tragedy“). Playing Allen is Ezra Miller, a Jewish actor with an eccentric persona and beautiful face who is perhaps best known for his roles in We Need to Talk About Kevin and The Perks of Being a Wallflower (congratulations on appearing in a shorter-titled film, Ezra).

Multiple sources invited to visit the Justice League set report witnessing the scene in which we first meet Allen, imbued with a sense of humor who apparently describes himself as a “very attractive Jewish boy.” (His skills, he claims, include web design and playing the viola.)

That’s it. No Holocaust sob story. No forced references to Chanukah. Just a young man whose secret identity is not his Jewishness. It’s unusual, and refreshing, and a step up from Marvel, though there is still the risk the line won’t make the final cut of the film.

Please, producers, editors, whoever has this decision in their hands: Keep the reference.

An interesting note about this decision is that Barry Allen is not a traditionally Jewish superhero (there have been a few theories, but really weak tea). Rather than, say, accentuate Superman’s Jewish metaphor, this franchise is simply adding a Jewish character to its universe, perhaps partially based on casting. Considering neither the director nor writer are Jewish, it’s an interesting choice.

Honestly, this film has the odds stacked against it being good (mostly because of prior DC films/director Zack Snyder’s track record), but at least the combination of diverse casting (including Jason Momoa and Ray Fisher) and multi-ethnic characters looks promising.

Also, Miller won’t be the only Jewish actor in the film; Gal Gadot and Jesse Eisenberg will reprise their respective roles as Wonder Woman and Lex Luthor from Batman v Superman: Dawn of Justice (and Wonder Woman’s solo feature film comes out only a couple of months before Justice League).

So here’s to 2017, and, perhaps, Justice League. You’re only a year away.

Image credit: Nick Step via Flickr

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‘What is this that God hath done unto us?’—Genesis 42:28

It is well known within the Marvel comics universe that Magneto is Jewish. While hinted at vaguely since his inception, Magneto “came out” of the shul in the 80’s, and his Jewry has been, if not forefront and center, then at least a constant undertone to his character ever since. Indeed, much of Magneto’s hatred and mistrust of humanity could—and has been—traced to the loss of his family as a child at the hands of the Third Reich. Numerous references in the comics—including a self-titled standalone run focused on Magneto’s bildungsroman in Hitler’s Germany—make sure that readers don’t forget this central aspect of the sometimes villain/sometimes anti-hero’s backstory.

Even the movie trilogies (both original and new) make a point of mentioning Magneto’s heritage (though not nearly well enough), perhaps due in part to the Jewishness of Bryan Singer, who has been involved in all six films, directing four of them. What seemingly appears as a victory of ethno-religious diversity, upon further examination, begs the question: how does Marvel, and pop culture at large, view the Jew?

Due to their wild—if somewhat varied—success, the portrayal of Magneto by the movie franchise is the image most X-Men fans have of the “master of magnetism.” A sufferer of loss, Magneto is bent on assuring the safety and supremacy of mutantkind, led by his Brotherhood, no matter the cost, even at the expense of the lives of humans and mutants alike. His ethnocentric militarism, perhaps not dissimilar to the Israelites’ tribal conquest of the Promised Land, acts as a foil to his rival and (former) best friend Charles Xavier’s pacifism and Christ-like love and hope in humanity. This creates a dichotomous narrative wherein Christian coding exemplifies and equates compassion and pacifism with Christ, while Jews are maligned by (Christian) interpretations of God in the Old Testament as a vengeful, distant force. It excludes a whole realm of pathos from the Jewish psychology and enforces a negative, inherently anti-Semitic association between Jews and cruelty.

Evidence of this can be seen in Magneto’s storyline, across which a Moses metaphor, with a little stretching, can be neatly laid: a common man turned leader, promising to free mutants from the bondage and tyranny of humankind, who leads his followers through multiple bloody conflicts until they reach their Israel: the island sanctuary of Genosha. Though sometimes convinced to work alongside the X-Men for the greater good, Magneto remains—at least in the movies—opposed to and highly skeptical of Xavier’s philosophy, mainly due to his willingness to harm humans in his quest for liberation. This Jewish reading of Magneto, however, is a purely extrinsic viewpoint, which the movies do not at all portray or promote. Instead, Marvel movies see the Jew as one thing only: one who suffers.

The most striking reference to Magneto’s Jewishness, if due not to its gravitas then to its frequency, is the somewhat hackneyed “Holocaust Survivor” trope, which both movie trilogies embrace in nearly identical scenes. Magneto, a young boy, is torn from the arms of his mother at the gates of Auschwitz (beneath the rain, of course), and while screaming and reaching back for her, his burgeoning powers twist and warp the barbed-wire fence that now separates them. His survivorhood is referenced later, either through pointed language or shots of tattooed numbers on his forearm, to ensure the viewer does not forget that Magneto lived through the Holocaust.

Any reference to Magneto’s Jewishness or Judaism (save for a few brief frames of a Chanukah flashback) are nonexistent. Though more attention has been paid to Magneto’s heritage within the comics, this coverage has been inconsistent, with scattered examples spread across decades and multiple creative teams. The references are there, but only for those willing to search.

Now, this distortion for one of Magneto’s primary aspects could be forgiven, seeing as X-Men is not a self-designated Jewish comic (despite the Jewishness of its two creators), except for the fact that this excessive hearkening to Magneto’s survival of the Shoah reinforces this idea that a Jew can be reduced to an overplayed image of an emaciated victim in striped pajamas. What it does is create a narrative of victimhood, through which, and only through which, a character’s Jewish identity is given voice. This is not to suggest that audiences need a flashback of Magneto studying Torah (though what a delight that would be), but what is required is nuance when it comes to the portrayal of Jews as complex, individual characters and not simply emotional clichés used to prop up or promote some tired understanding of an entire people as victims.

What it ultimately boils down to is (mis)representation. Dissenters are wont to point out that little if any mention is ever made of the Christian-hood of any of the other X-Men, and while this is true, by dint of our existence in a Christian centric society (within which the X-Men also exist) it is assumed that unless explicitly stated otherwise, all characters are Christian (or straight, etc.). Pointing out Magneto’s heritage matters because his is a background that so often goes unnoticed and unrepresented in mainstream media, but what matters more is how it’s represented. In both of his movie iterations, Nightcrawler’s Catholicism is subtly stated by brief scenes showing him praying, clutching a rosary, or making the sign of the cross. When confronted with overwhelming odds, his religion acts as succor for his soul, a shelter and support, all without being heavy handed.

The sole instance of Magneto speaking to God comes as an anguished crying out as he clutches the dead bodies of his recently murdered wife and child. Though this remains within the vein of traditional Judaism, where questioning God is not only common but oftentimes encouraged, the intent of the scene is most likely not to portray Magneto as a man succumbing to the pressures of the world while wondering aloud why the Almighty would burden him with these hardships. Rather, it only adds flare to the anguish of an already tortured man. Magneto does not overcome, he suffers.

Were this only an instance of poor or unimaginative character development, it would be bad enough, but the insidious truth of the matter is that Magneto is a snapshot of how pop media views the Jew. While there are certainly exceptions that prove the rule, for the most part, Jews are seen as two-dimensional caricatures, only interesting as victims to be saved or avenged. Think of the Jewish children in Au revoir, les enfants, whose impetus in the film is to be befriended by Catholics and yet still carted off to the concentration camps. Or the Bear Jew in Tarantino’s Inglorious Basterds, who, by dint of his ability to actually fight back, must surely be a Golem, a construct of Jewish folklore. But Jews are more than victims and our stories more varied and complex than the narratives of suffering others wish to place upon us. Representation matters to be sure, but how we are represented matters just as much. A cast filled with stereotypes accomplishes little and harms more than it helps.

It’s time Marvel embraces the Jewish heritage of its characters and realizes that a Jew can do more than survive Auschwitz.

Alex Franco is a Georgia-born writer currently geeking out in Paris.

Read also: Hey, Marvel, Where Are Your Jews?

How Superman Stopped Being Jewish, And Why He’s Coming Back

Images: David Yardin and John Byrne for Marvel comics and via Wikimedia

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