The 10 Cent War: Comic Books, Propaganda, and World War II

by Trischa Goodnow (Editor), James J. Kimble (Editor)

Contributions by Derek T. Buescher, Travis L. Cox, Trischa Goodnow, Jon Judy, John R. Katsion, James J. Kimble, Christina M. Knopf, Steven E. Martin, Brad Palmer, Elliott Sawyer, Deborah Clark Vance, David E. Wilt, and Zou Yizheng

One of the most overlooked aspects of the Allied war effort involved a surprising initiative--comic book propaganda. Even before Pearl Harbor, the comic book industry enlisted its formidable army of artists, writers, and editors to dramatize the conflict for readers of every age and interest. Comic book superheroes and everyday characters modeled positive behaviors and encouraged readers to keep scrapping. Ultimately, those characters proved to be persuasive icons in the war's most colorful and indelible propaganda campaign.

The 10 Cent War presents a riveting analysis of how different types of comic books and comic book characters supplied reasons and means to support the war. The contributors demonstrate that, free of government control, these appeals produced this overall imperative. The book discusses the role of such major characters as Superman, Wonder Woman, and Uncle Sam along with a host of such minor characters as kid gangs and superhero sidekicks. It even considers novelty and small presses, providing a well-rounded look at the many ways that comic books served as popular propaganda.

Genres: Comics, World War II, History

240 pages, Hardcover

Published January 20, 2017

Reviews

[Ron · Rating 3 out of 5]

During the lead up to World War II, comic books were a growing phenomenon. In the United States, many comic book artists considered their mission not just to entertain, but also to influence the public and later to support the war effort. In The 10 Cent War, Goodnow and Kimble bring together a number of essays that dive into the variety of intersections between comic books and propaganda during WWII.

The opening essay considers how women were portrayed in the military and elsewhere in the war effort. The next essay looks at comics portraying the Flying Tigers and Chinese allies. The Boy Commandos and various super-hero sidekicks such as Bucky are examined in separate essays. Superman is considered as an allegory for isolationist/interventionist United States with Lois Lane as Europe. Captain America and Wonder Woman each merit their own essay. Then there is True Comic - using non-fiction as counter propaganda! Finally there are a quartet of essays looking at ordinary kids doing their bit for the war.

Propaganda during World War II and comic books is an interesting combination. The 10 Cent War provides a diverse and decent set of essays that explore numerous facets of this topic.

[Homewrecker · Rating 3 out of 5]

Interesting compilation of articles. Well researched. Doesn't let itself get bogged down in Academic-eze. Sometimes the writing style gets too simplistic leading one to wonder if this is a collection of articles by undergrads. But that style certainly ensures that it is readable.

[Sue · Rating 4 out of 5]

Non-fiction commentary on the effect of propaganda and use in comic books during WWII. Academic and dry, not appealing to young children.

[Theediscerning · Rating 3 out of 5]

A very academic, but worthwhile, collection of essays regarding the four-colour comic industry and what happened in it, to it, and because of it, in WWII. Essays look both at elements within the war – the use of female characters changed social acceptance of the female war effort, plots in China and the Pacific Theatre also changed perceptions – and factors purely on the page, such as child sidekick characters getting all grown-up and masculine and warrior-like, and Eisner's Uncle Sam character, and dress everything concerned up as an unofficial, consensus-led propaganda exercise. Some state the obvious at great length, some are too high-falutin', and some mistake Clark Kent's narrative imperative never to fight as an isolationist allegory, in some weird world where Lois Lane is Europe, and Lex Luthor becomes Hitler. Yes, exactly. I don't think you can even use the term propaganda precisely as such when the comics were certainly led by market forces and the few creators (mostly, of course, Jewish) involved, but they certainly changed things, and were themselves changed, to such an extent such high-brow collections are worthwhile, and make interesting reading.