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Our Gods Wear Spandex: The Secret History of Comic Book Heroes
From occult underground to superhero! Was Superman's arch nemesis Lex Luthor based on Aleister Crowley? Can Captain Marvel be linked to the Sun gods on antiquity? In Our Gods Wear Spandex , Christopher Knowles answers these questions and brings to light many other intriguing links between superheroes and the enchanted world of estoerica. Occult students and comicbook fans alike will discover countless fascinating connections, from little known facts such as that DC Comics editor Julius Schwartz started his career as H.P. Lovecraft's agent, to the tantalizingly extensive influence of Madame Blavatsky's Theosophy on the birth of comics, to the mystic roots of Superman. The book also traces the rise of the comic superheroes and how they relate to several cultural trends in the late 19th century, specifically the occult explosion in Western Europe and America. Knowles reveals the four basic superhero archetypesthe Messiah, the Golem, the Amazon, and the Brotherhoodand shows how the occult Bohemian underground of the early 20th century provided the inspiration for the modern comic book hero. With the popularity of occult comics writers like Invisibles creator Grant Morrison and V for Vendetta creator Alan Moore, the vast ComiCon audience is poised for someone to seriously introduce them to the esoteric mysteries. Chris Knowles is doing just that in this epic book. Chapters Ancient of Days, Ascended Masters, God and Gangsters, Mad Scientists and Modern Sorcerers, and many more. From the ghettos of Prague to the halls of Valhalla to the Fortress of Solitude and the aisles of BEA and ComiCon, this is the first book to show the inextricable link between superheroes and the enchanted world of esoterica.
256 pages, Paperback
First published November 1, 2007
11 people are currently reading
342 people want to read
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Displaying 1 - 30 of 44 reviews
January 7, 2008
Author, artist, and comic-book fanboy Christopher Knowles knows a thing or two about the history of superheroes: their creators, their inspirations and the powerful draw they have on readers of all ages. Tying this information in with his knowledge of the occult and pagan religions, Knowles has created The Hero With a Thousand Faces… the comic-book version. In an almost Cambellian way, Knowles new book, Our Gods Wear Spandex, deconstructs our most revered superhero figures to reveal their basic roots and origins as pagan deities.
Though Knowles does stretch his (and readers’) imagination a few times to make his points seem relevant, for the most part he maintains a straightforward, factual recounting of history. Starting with a brief breakdown of ancient myths in Egypt, Sumer, Rome and Greece, Knowles goes on to describe the occultic secret societies that serve as a backdrop for most of the theories expounded in the book, before diving into the creation of comic-books and their rise in popularity.
Readers familiar with the characters and authors he’s discussing will find more than a few eye-opening snippets of information, while those with less of a background in comics are more likely to be surprised at every turn, though perhaps less engaged. With short chapters, comic illustrations by Joseph Michael Linsner and a to-the-point writing style, Knowles knows how to hold an audience captive. Each chapter is divided into subheadings and most subheadings are no more than two pages.
While invoking The Last Supper on the cover may seem a bit heretical, it’s actually an astute encompassment of the novel in a single image, as Knowles’ main purpose with this publication is to argue, rather eloquently, that modern-day superheroes are more than just imaginary cartoons characters, they are our new gods and demi-gods. With a four-page bibliography and extensive references to specific comic-book storylines, this is the kind of book that was written to be dissected. Not everyone will agree with his theories, and some may not even really care, but for those who buy into the basic premise, Our Gods Wear Spandex reads like the philosophy text book you wish your college professors assigned.
Though Knowles does stretch his (and readers’) imagination a few times to make his points seem relevant, for the most part he maintains a straightforward, factual recounting of history. Starting with a brief breakdown of ancient myths in Egypt, Sumer, Rome and Greece, Knowles goes on to describe the occultic secret societies that serve as a backdrop for most of the theories expounded in the book, before diving into the creation of comic-books and their rise in popularity.
Readers familiar with the characters and authors he’s discussing will find more than a few eye-opening snippets of information, while those with less of a background in comics are more likely to be surprised at every turn, though perhaps less engaged. With short chapters, comic illustrations by Joseph Michael Linsner and a to-the-point writing style, Knowles knows how to hold an audience captive. Each chapter is divided into subheadings and most subheadings are no more than two pages.
While invoking The Last Supper on the cover may seem a bit heretical, it’s actually an astute encompassment of the novel in a single image, as Knowles’ main purpose with this publication is to argue, rather eloquently, that modern-day superheroes are more than just imaginary cartoons characters, they are our new gods and demi-gods. With a four-page bibliography and extensive references to specific comic-book storylines, this is the kind of book that was written to be dissected. Not everyone will agree with his theories, and some may not even really care, but for those who buy into the basic premise, Our Gods Wear Spandex reads like the philosophy text book you wish your college professors assigned.
May 2, 2016
This book has an interesting premise but somehow it falls flat. Most of the things in the book are just speculation and few are actually factual things. Also, the concept that comic book superheroes are essentially the old gods but in new costumes and stories, is not a new one. There are many other books out there which elaborate more on this, especially Grant Morrison’s “Super Gods”. I already knew most of the things in the book and anyone who might have read any book about the history of comics or pop culture might find this book repeating a lot of things as well.
For those who never read anything about comics in the context of social or cultural influences, this book is a perfect beginner’s guide, however, there is much more information not covered in the book.
The only thing I liked about it where the last two chapters. This is where the author talks about the importance of comics for our imagination and how these “new” gods help mankind to aspire for greatness. The whole idea behind such a book is to show the casual reader the value of comics and create a better understanding of a medium that is gaining popularity in main stream media. It also highlights the important people who steered and continue to lead the industry into better quality story telling for everyone to enjoy. This in turn stimulates the collective imagination of all of us to push ourselves into a new age of humanity. The problem is that the message doesn’t come across so clearly. The book ends up being a list of esoteric and mystical people who influenced the comic book scene and how they shaped the origin of these “new” gods.
In the end, I would recommend this book only to the casual reader interested in reading a bit about comics. It is not a bad book in itself, however, there are better ones out there doing what this book tries to do, but doing it better.
For those who never read anything about comics in the context of social or cultural influences, this book is a perfect beginner’s guide, however, there is much more information not covered in the book.
The only thing I liked about it where the last two chapters. This is where the author talks about the importance of comics for our imagination and how these “new” gods help mankind to aspire for greatness. The whole idea behind such a book is to show the casual reader the value of comics and create a better understanding of a medium that is gaining popularity in main stream media. It also highlights the important people who steered and continue to lead the industry into better quality story telling for everyone to enjoy. This in turn stimulates the collective imagination of all of us to push ourselves into a new age of humanity. The problem is that the message doesn’t come across so clearly. The book ends up being a list of esoteric and mystical people who influenced the comic book scene and how they shaped the origin of these “new” gods.
In the end, I would recommend this book only to the casual reader interested in reading a bit about comics. It is not a bad book in itself, however, there are better ones out there doing what this book tries to do, but doing it better.
December 20, 2015
Wow is this a weird book. The author connects comic and superheros to Freemasons, Alister Crowley, Rosicrucianism, the Kabbalah and alot more. I couldn't follow much less agree with much of his logic. This was one of those odd reads, weirdly odd I kept reading just to see what bizarre connection was made next to me beloved comics. Not recommended unless you are just looking for some really different to read.
February 21, 2018
For years I was fascinated by this book, and its implications for how much I loved superheroes.
The author is right that many heroes began in seedy circumstances, created by people with strange fascinations, and sometimes hiding their true intentions in plain sight.
But at the same time, the whole point about generations of engagement with characters and stories means that things can evolve, and change. The relationships that we have with these characters is probably no longer what the original creators intended.
As the stories mature, the audiences change, and the culture flexes against the pressures of time and events, the characters are re-invented constantly to speak to new audiences.
A perfect case in point is Wonder Woman. She probably started out as a masochistic fantasy and stab at female empowerment, as evidenced by the weird first comics, but the latest versions of her saga brought to us by Gal Gadot completely reinvent, and reground her, in a new framework.
So it's a secret history, sure, and it's cool to learn. But when it comes down to it, half of the heroes we all know and love are no longer who they were when they started. They've grown, deepened, been taken to ridiculous depths of darkness and budget, and many of them redeemed by being dipped into different philosophies and theologies.
These characters are not static, fixed to their creator's origin points. They are reflections of our enthusiasms and common cultural ideas. They are embodiments of our darkest, most difficult questions. They are moments of catharsis that allow us to experience situations and moments we wouldn't normally have access to, or ever want, and help us see how we might respond to them.
Definitely, superheroes are the gods of the modern world. The gods of the past were entities distinct from us, and our relationship to them was one of subservience and wonder. Today, these new gods are projections from our inner ids and super egos. But we absolutely love them, fear them, or admire them.
As long as we are alive, we will tell stories. And as long as we work hard for anything, we will have heroes. They might be mystical mashups of real world elements under a veneer of science, or stabs in the dark at questions of deep meaning and purpose.
Either way, we will never let Superman die. No matter how many times the writers try.
The author is right that many heroes began in seedy circumstances, created by people with strange fascinations, and sometimes hiding their true intentions in plain sight.
But at the same time, the whole point about generations of engagement with characters and stories means that things can evolve, and change. The relationships that we have with these characters is probably no longer what the original creators intended.
As the stories mature, the audiences change, and the culture flexes against the pressures of time and events, the characters are re-invented constantly to speak to new audiences.
A perfect case in point is Wonder Woman. She probably started out as a masochistic fantasy and stab at female empowerment, as evidenced by the weird first comics, but the latest versions of her saga brought to us by Gal Gadot completely reinvent, and reground her, in a new framework.
So it's a secret history, sure, and it's cool to learn. But when it comes down to it, half of the heroes we all know and love are no longer who they were when they started. They've grown, deepened, been taken to ridiculous depths of darkness and budget, and many of them redeemed by being dipped into different philosophies and theologies.
These characters are not static, fixed to their creator's origin points. They are reflections of our enthusiasms and common cultural ideas. They are embodiments of our darkest, most difficult questions. They are moments of catharsis that allow us to experience situations and moments we wouldn't normally have access to, or ever want, and help us see how we might respond to them.
Definitely, superheroes are the gods of the modern world. The gods of the past were entities distinct from us, and our relationship to them was one of subservience and wonder. Today, these new gods are projections from our inner ids and super egos. But we absolutely love them, fear them, or admire them.
As long as we are alive, we will tell stories. And as long as we work hard for anything, we will have heroes. They might be mystical mashups of real world elements under a veneer of science, or stabs in the dark at questions of deep meaning and purpose.
Either way, we will never let Superman die. No matter how many times the writers try.
June 20, 2011
This book argues that superhero comics, and their literary antecedents, are descendents of ancient tales of gods and heroes, and they inspire a devotion that is literally cultish. In the past century or so, a lot of it comes for theosophy, a distinctly modern fusion of religion and pseudo-science.
While some of this is interesting, it ignores all the other genres that have contributed to modern superhero stories, including crime/detective fiction, science fiction, fantasy and so on. Sometimes Knowles' thesis stretches thin, as when he grudgingly admits that he can't find any occult influences in the life or work of Edgar Rice Burroughs.
Knowles rightfully gives respect to Alan Moore, but damns Grant Morrison with faint praise. This is odd, as Morrison's own recent work seems to be operating from the same ideas as Knowles.
See Klock's "How to Read Superhero Comics and Why" for a much more thoughtful discussion of the genealogy of this genre.
While some of this is interesting, it ignores all the other genres that have contributed to modern superhero stories, including crime/detective fiction, science fiction, fantasy and so on. Sometimes Knowles' thesis stretches thin, as when he grudgingly admits that he can't find any occult influences in the life or work of Edgar Rice Burroughs.
Knowles rightfully gives respect to Alan Moore, but damns Grant Morrison with faint praise. This is odd, as Morrison's own recent work seems to be operating from the same ideas as Knowles.
See Klock's "How to Read Superhero Comics and Why" for a much more thoughtful discussion of the genealogy of this genre.
February 15, 2008
This was not very good. There were many factual errors. Nearly everything is speculation. There were a few interesting facts. I think the best thing that I got out of this is how Lex Luthor looks like Aleister Crowley. I have never thought of this. He has a point. I already knew most of what the book told me. It would have been better if I was less knowledgeable about comics and the occult. Although I would have doubted pretty much everything due to the inaccuracies.
I would recommend this book to people who are interested in both superheroes and the occult and don't know much about either of the two subjects, although they're never really tied together well.
I would recommend this book to people who are interested in both superheroes and the occult and don't know much about either of the two subjects, although they're never really tied together well.
June 7, 2021
Cool conceit & an impressive range of reference of ancient western & near eastern religions & 19th & 20th century occultism & literature, but the book is plagued by a shallowness that another reviewer fairly compares to a wiki entry.
The book would've benefited by cutting down the number of chapters & devoting more analysis to specific ancient cult symbolism, Victorian occult practices, & superhero stories (especially the work of CC Beck, Howard Sherman, Jack Kirby, & Frank Brunner, all of whom give the writer interesting things to gesture at). The writer's vague gestures to 80s urban violence could've perhaps been intriguing w/ development but were just cringe as presented. The writer's snide dismissal of 80s-90s comics are fair enough in one sense but, in another sense, hard to take seriously from a critic so enraptured by the mediocre work of Alex Ross.
The book would've benefited by cutting down the number of chapters & devoting more analysis to specific ancient cult symbolism, Victorian occult practices, & superhero stories (especially the work of CC Beck, Howard Sherman, Jack Kirby, & Frank Brunner, all of whom give the writer interesting things to gesture at). The writer's vague gestures to 80s urban violence could've perhaps been intriguing w/ development but were just cringe as presented. The writer's snide dismissal of 80s-90s comics are fair enough in one sense but, in another sense, hard to take seriously from a critic so enraptured by the mediocre work of Alex Ross.
October 13, 2017
While claiming to have established connections between esoteric religious orders and spiritualists like Aleister Crowley to the current crop of superheroes, Knowles doesn't really provide much in the way of examples. He discusses the Golem archetype and then places Batman in this group. How? It's a somewhat interesting read, but overall there are far better books about superheroes on the market.
January 2, 2018
Christopher Knowles is an amateur historian whose tenuous connections and farfetched claims make this book highly entertaining. But make no mistake: I'm not laughing WITH him, I'm laughing AT him. Not to mention his cheap stabs at "liberals" and "left-wingers" and occasional homophobic remarks (they are mild but not that subtle).
March 21, 2020
J'ai d'abord pris ce livre pour un recueil sur la religion et les super-héros. Malheureusement ce n'est pas le cas. L'auteur prend surtout en compte les super-héros en tant que dieux et les scénaristes en tant que prophètes. Ça reste un bon début pour connaître l'histoire des comics.
October 19, 2021
Great book! If you're interested in the relationship of comics to the occult and religion, this book is a must read!
Want to read
January 23, 2024Livro fortemente indicado pelo jornalista, teólogo, pastor (Bola de Neve) e doutor em linguística, Daniel Lopez. A obra trata da origem dos nossos super-heróis, (a maioria remonta à Bíblia)
This entire review has been hidden because of spoilers.
August 22, 2025
wish i could give 3.5 stars!
November 21, 2020
An ultimately lightweight book with not a well enough argued conceit to be essential reading. But some interesting history in there. And being written in 2007 just before Ironman and the explosion of the MCU parts feel outdated or just plain wrong now in retrospect.
June 30, 2013
"Who are our gods today?" is a question Jack Kirby asked himself in the late '60s. His answer was the New Gods, his unfinished masterwork published by DC Comics. Christopher Knowles answers a different question: Who are our superheroes? The answer is that they're nothing new: they're the old gods in new disguise.
Jung believed that when we deny the gods they disappear into the unconscious but return in new forms -- in our diseases, for one. Our aches, pains, anxieties, failings. But, as Christopher Knowles so well points out in Our Gods Wear Spandex, they also hide in our aspirations and hopes, in the colorful, tights-clad inheritors of our epic tales: our comic books. Knowles makes a good argument for his case, unraveling page by page the mystery of the hold these heroes have on us.
Alan Moore has scoffed at the idea that Superman and Batman might represent gods. He thinks its a superficial reading. I suspect his dismissal has more to do with him taking jabs at Grant Morrison than with any deep contemplation of the issue. (Grant Morrison, like Knowles, also see the gods behind the capes.) Moore, however, certainly has presented a masterful take on superheroes _as if they were gods_ in his Marvelman (Miracleman) series. But I think Knowles makes a strong case, one that works well with Jungian interpretations of such pop culture phenomena as superheroes (especially in light of their recent Hollywood success, ruling the box office). While there is certainly a lot of ego fantasy clinging to the superhero genre, it is mostly on the outside, barnacles on a whale, concealing a deep interior of archetypal significance.
Especially appreciated here is Knowles tracing the history of the precursors to the superhero through history, from the Freemasons to theosophists to the pulps.
And Linser's art is a great complement.
Jung believed that when we deny the gods they disappear into the unconscious but return in new forms -- in our diseases, for one. Our aches, pains, anxieties, failings. But, as Christopher Knowles so well points out in Our Gods Wear Spandex, they also hide in our aspirations and hopes, in the colorful, tights-clad inheritors of our epic tales: our comic books. Knowles makes a good argument for his case, unraveling page by page the mystery of the hold these heroes have on us.
Alan Moore has scoffed at the idea that Superman and Batman might represent gods. He thinks its a superficial reading. I suspect his dismissal has more to do with him taking jabs at Grant Morrison than with any deep contemplation of the issue. (Grant Morrison, like Knowles, also see the gods behind the capes.) Moore, however, certainly has presented a masterful take on superheroes _as if they were gods_ in his Marvelman (Miracleman) series. But I think Knowles makes a strong case, one that works well with Jungian interpretations of such pop culture phenomena as superheroes (especially in light of their recent Hollywood success, ruling the box office). While there is certainly a lot of ego fantasy clinging to the superhero genre, it is mostly on the outside, barnacles on a whale, concealing a deep interior of archetypal significance.
Especially appreciated here is Knowles tracing the history of the precursors to the superhero through history, from the Freemasons to theosophists to the pulps.
And Linser's art is a great complement.
August 29, 2013
I wanted to like this book. Unfortunately, it reads like it was excerpted from Wikipedia articles, and I never felt the author had any real expertise or serious knowledge of the subject. The work is superficial at best, and in some cases wrong-headed. (For example, he lists Batman as being a Golem archetype. I have no idea where he's getting that crazed idea, even after reading it. The Thing, the Hulk maybe, but BATMAN?? No.) The brief section on female superheroes focuses a great deal on two things: 1) Marston (who created Wonder Woman) was into bondage and a polygamist, and 2) girls don't really read comics. Even though he quotes from The Great Women Superheroes (Trina Robbins - a must-read), I'm not sure HE read it with any real comprehension.
The connection to the mystic/religious is spare. He spends so much time discussing Madame Blavatsky and Aleister Crowley (and others) as well as various secret societies like the OTO, but never draws strong relationships from those mystic orders to the majority of the heroes he mentions. Superman is a Messiah figure. Hawkman comes from Egyptian mythology. But these assertions are not explored, examples are not given. I've had more in-depth conversations about these same characters in message boards.
Save your money (borrow it from the library if you must) and strike up a conversation with the folks at your local comic book shop.
The connection to the mystic/religious is spare. He spends so much time discussing Madame Blavatsky and Aleister Crowley (and others) as well as various secret societies like the OTO, but never draws strong relationships from those mystic orders to the majority of the heroes he mentions. Superman is a Messiah figure. Hawkman comes from Egyptian mythology. But these assertions are not explored, examples are not given. I've had more in-depth conversations about these same characters in message boards.
Save your money (borrow it from the library if you must) and strike up a conversation with the folks at your local comic book shop.
May 31, 2012
It's kind of strange to call this "non fiction" and yet here we are...
A LOT of my friends are into superheros. In fact, although I don't read superhero comics, I DO adore the movie adaptations of them... and so my friends often chat with me about the characters in more depth... and that is what made me pick up this book at the library, and read it.
The author does an amusingly good job of taking apart our 'gods' the superheros, and pointing out how it is that they have become such prominant figures in our world. Which authors have started trends, and why was it likely that they became SO popular, compared to so many others who create this kind of thing?
Each character or author they discuss, each world or situation... it has connections. Did you ever notice the connections between certain superheroes or stories about them, that parallel the concept of 'secret mysteries' of religons? Or how about the more obvious topic of sexuality and gender roles? Or of being human and non-human?
This book amused and pleased me with the way it broke some of these topics down, in short chunks, so one could further ponder them. Well done, even if it is short, shallow, and more speculation than fact... it's an interesting read.
September 2, 2011
An uneven yet interesting examination of the evolution and transformation of mythic heroes from ancient cultures to the present, with a focus on how the hero archetype has been interpreted and depicted in popular culture and media.
The thesis that comic book heroes are in many cases reinterpretations of archetypal heroes and superbeings is a natural one. This is examined through mythical and mystical themes explored in late 1800/early 1900 spiritual and occult societies, as well as in popular fantasy literature and the pulp magazines of early 20th century, which then led into the advent of the comic book heroes in the 1930's and 1940's.
The accompanying artwork by Joseph Michael Linser, although certainly super-heroic in style, was in some cases a bit twisted and kinky, which did not always mesh well with the content.
Knowles provides a wide-ranging and high-level romp through the heroic memes that have woven their way through our heroic story-tellings. I would have enjoyed a more in-depth examination of these themes, which Knowles excels at in his online output on his various blogs.
The thesis that comic book heroes are in many cases reinterpretations of archetypal heroes and superbeings is a natural one. This is examined through mythical and mystical themes explored in late 1800/early 1900 spiritual and occult societies, as well as in popular fantasy literature and the pulp magazines of early 20th century, which then led into the advent of the comic book heroes in the 1930's and 1940's.
The accompanying artwork by Joseph Michael Linser, although certainly super-heroic in style, was in some cases a bit twisted and kinky, which did not always mesh well with the content.
Knowles provides a wide-ranging and high-level romp through the heroic memes that have woven their way through our heroic story-tellings. I would have enjoyed a more in-depth examination of these themes, which Knowles excels at in his online output on his various blogs.
November 1, 2012
This read like a series of blog posts and student essays loosely linked underneath a premise that had more assertion than evidence behind it. Since many sections were divided into brief biographies, any overall theme or premise was consistently derailed by info dumps.
Mr. Knowles' apparent desire to flatter the egos of his presumed audience (of "hardcore," "brainy" male readers) backfired slightly when being read by someone not part of that favored audience. In particular, his constant reference to women's appearance in lieu of other qualifications, his reference to Shirley McLaine (alone, apparently) having "hijacked" the otherwise pure New Age movement, and his lackluster chapter on female characters led to the impression that he was not making an argument so much as just tossing out opinions that his buddies would nod over. Women in comics, huh. Who cares?
There are some interesting snippets of information in here, but the casual feel of the text leads me to believe that I should take it with a grain of salt.
Mr. Knowles' apparent desire to flatter the egos of his presumed audience (of "hardcore," "brainy" male readers) backfired slightly when being read by someone not part of that favored audience. In particular, his constant reference to women's appearance in lieu of other qualifications, his reference to Shirley McLaine (alone, apparently) having "hijacked" the otherwise pure New Age movement, and his lackluster chapter on female characters led to the impression that he was not making an argument so much as just tossing out opinions that his buddies would nod over. Women in comics, huh. Who cares?
There are some interesting snippets of information in here, but the casual feel of the text leads me to believe that I should take it with a grain of salt.
July 3, 2016
2.5 stars
Christopher Knowles's thesis is that contemporary comic book superheroes fill the role reserved in olden days for gods and goddesses. In support of this idea he presents a scattershot account of Western hermetic history, sketches the lives of 19th and 20th century occult figures and illustrates tentative connections to the cartoon industry, examines superheroes and supervillains alike as mythic and psychological archetypes, and points out some contemporary comics writers with explicit occult, magickal, and mystical leanings. Alas, the operative word above is scattershot—"denoting something that is broad but random and haphazard in its range"—this book could have benefited greatly from more focus and fleshing-out. Luckily, Mr. Knowles is still following up on these themes and working on his prose, and so those interested in following along should check him out here.
Christopher Knowles's thesis is that contemporary comic book superheroes fill the role reserved in olden days for gods and goddesses. In support of this idea he presents a scattershot account of Western hermetic history, sketches the lives of 19th and 20th century occult figures and illustrates tentative connections to the cartoon industry, examines superheroes and supervillains alike as mythic and psychological archetypes, and points out some contemporary comics writers with explicit occult, magickal, and mystical leanings. Alas, the operative word above is scattershot—"denoting something that is broad but random and haphazard in its range"—this book could have benefited greatly from more focus and fleshing-out. Luckily, Mr. Knowles is still following up on these themes and working on his prose, and so those interested in following along should check him out here.
March 14, 2008
Our Gods Wear Spandex is basically a cultural anthropology of comic book heroes and culture. It looks all the way back to ancient cultures (most notably Egyptian) and the way they viewed their gods. It traces those lines all the way up to the present, passing through secret societies, masonic imagery, victorian occultism, and American immigration on the way.
e.g. At festivals celebrating the gods, certain ancient Egyptian sects would dress up like their gods - sound like a comic con to anyone?
Its pretty light-weight and easy to read. Its not too academic, which I liked about it. Don't get me wrong, Knowles knows his stuff, he's just not excessively dense with the language (something that plagues other books I've read on popular culture).
While it wasn't anything completely out of this world, I liked it. Well worth the read.
e.g. At festivals celebrating the gods, certain ancient Egyptian sects would dress up like their gods - sound like a comic con to anyone?
Its pretty light-weight and easy to read. Its not too academic, which I liked about it. Don't get me wrong, Knowles knows his stuff, he's just not excessively dense with the language (something that plagues other books I've read on popular culture).
While it wasn't anything completely out of this world, I liked it. Well worth the read.
August 22, 2013
A great book, if you are unaware of the fact that--wait for it--many superhero comics are based upon mythology! Mr. Knowles pads his underwhelming and unremarkable thesis with common knowledge available in textbooks or high school enrichment classes. The difference is that the textbooks are usually more entertaining and better written. When Knowles is not putting his readers to sleep with the bleeding obvious, he's making stuff up. Ever heard of the Chromium Age of Comics? Me neither. One good thing: It's handsomely illustrated. Also, it's probably a good conversation piece. Otherwise, look for books with something actually to say, like Grant Morrison's Supergods or anything by Jeffrey Kripal.
January 26, 2008
This was great. All of the editorials about how bad Image and Rob Liefeld were got old. (I get it: You hated the chromium 90's) Also his Alex Ross lost fest is a little...too lovey. But overall this book was great. so many little samples of all of the literary influences throughout history that created the world's love with super heroes. It's easy to make fun of comic books and super heroes, but we all love them in one way or another. This is a great book for getting tastes of so much "source" literature. If you love Batman, go figure out from where the character came...and then read the history, read the source material. Great book for comic book fans, good book for everyone.
May 20, 2015
This just didn't deliver on the premise. Interesting idea that never fully realizes itself. Knowles ideas are good but not reasoned and what citations he uses to back up his claims are either confirmation biased or not applicable to his point. Also not all superhero characters are directly influenced by the occult, good point that he makes is that a good many comic creators had at least a passing interest in the occult but sure they write fiction. Sometimes he states stuff as fact and doesn't bother to misrepresent a source, if it is opinion ok but he doesn't treat it as such. It gets 1 star for some of the cogent thought that he has and 1 star for the Linsner art.
December 13, 2014
This book provides an overview of superheroes' roots in pulp fiction and early comic strips, with an attempt to draw links between various occult traditions and certain superheroes (or at least their creators). The book also offers an archetypical analysis of superheroes -- e.g., the Messiah, the Golem, the Amazon -- and bios of notable writers and artists in the field. It's a good supplemental source for a comics scholar, offering food for thought about the history, development, and symbolic importance of mainstream comic superheroes.
February 8, 2013
This is a remarkable book that goes into the metaphysical and mythic origins of the comic books we all delight it. I never knew most of the history of the comic books, nor did I get how each hero was related to the cultural context at the time. Of particular interest to me were the recurring themes of personal empowerment and individuality versus collective effort. I really recommend this one to anyone who has enjoyed fantasy and science fiction.
October 2, 2014
I enjoyed this book, but wondered if it could have been condensed into a smaller magazine or web article.
I am familiar with mythological archetypes used in comics but know very little about the occult underground or counter culture. It makes for fascinating stuff but leads this author into assumption a few times. While it's meaty stuff to hear of comic creators dabbling in the occult, to me Lex Luthor as Aleister Crowley was a stretch.
I am familiar with mythological archetypes used in comics but know very little about the occult underground or counter culture. It makes for fascinating stuff but leads this author into assumption a few times. While it's meaty stuff to hear of comic creators dabbling in the occult, to me Lex Luthor as Aleister Crowley was a stretch.
March 28, 2016
This book provides an interesting history of mysticism and the occult in western thought and literature. How the creators of comics took part in this tradition and were influenced by this esoteric background. In all I think the author took several liberties and made several jumps of logic that are not supported by facts but rather by his opinion. It is an interesting read but the reader has to suspend their unbelief to enjoy it.
August 10, 2008
There was nothing in this book I didn't walk in knowing, sadly- but it's a damned good overview of the reality of 20th century mysticism having shaped the comics industry from the get-go. A very good read for someone new to the concept: not as much of a good read for someone who's already versed in comics history and early 20th century mystical foo.
December 30, 2010
Interesting book. The idea that comic book superheroes represent the gods of modern culture is nothing new, but this book takes it further by explicitly linking superheroes to their religious and occult roots. Sometimes it feels like Knowles tried too hard to link comics with historically occult figures, but the premise is interesting and leaves the reader thinking.
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