SUPERHEROES

A STORY IN EVOLUTION

SUPERHEROES: A Story in Evolution is a summary with a chronological compilation of notes and observations on some events we consider important in the HISTORY and EVOLUTION of SUPERHEROES.

In the creation of our original content, we always carry out a research phase, from which notes, remarks, and insights remain on different topics relevant to us.

WE BELIEVE IN THE POWER OF IMAGINATION!

TRANSCRIPTION OF SUPERHEROES: Notes from a Story in Evolution.

Some predecessors.

One of the pre-superhero predecessors was born in comic strips: Popeye the Sailor. His first appearance was in a comic strip called Thimble Theatre in 1929. Although he didn’t fight crime, he did eat his spinach, which gave him superhuman strength to carry out extraordinary feats against his nemesis, Bluto.

The Phantom made his debut on February 17, 1936. He was the first hero to fight crime, though he had no superpowers. The Phantom was the kind of hero who, despite lacking extraordinary abilities, faced crime with great courage and defied death.

In March 1937, Detective Comics #1 was released, the first DC comic. Most of its stories carried a somewhat racist tone toward the Chinese, who appeared as villains in the vast majority of the tales contained in this issue.

One of the characters bore a remarkable resemblance to a superhero well known today: Superman. From the opening page of this story, you can see in various designs a strong-looking hero performing good deeds, fighting to save the girl.

SUPERHEROES: Golden Age (1938–1950)

It was an idyllic, utopian time. There was a clear stylistic distinction between good and evil. Superheroes were nothing more than lucky good guys, addicted to doing good, fighting and always defeating villains, who were motivated by the pursuit of money and/or the world’s admiration for committing their cruelest misdeeds.

This battle between good and evil is the reason why comics of this era became such a successful “boom.”

They fulfilled the dream of every child, and why not? of more than a few adults too. To gain powers beyond imagination, to overcome their enemies effortlessly, and to escape from the “lifeless” neighborhoods they inhabited in search of adventure.

A feature of this era’s idealism was that superheroes were used as a platform to instill and promote national pride and patriotism during World War II, which was taking place at the time.

Descending, literally, from the sky to inaugurate the Golden Age came Superman (Action Comics #1), consecrated as the greatest historical representative of the superhero comic, still known by many of us today.

The muscular figure, with superpowers, a cape, and tight spandex, came to fight crime. He made such an impact on readers that they couldn’t take their eyes off his adventures.

Superman set the standard for every superhero to come and was even the first to have his own comic book dedicated exclusively to him and his adventures, at a time when comic characters were restricted to one-shot stories or small segments in various publications.

It is worth noting that the Golden Age also gave birth to the first female superhero, Wonder Woman, and let’s not forget the beloved favorite of many, Batman.

SUPERHEROES: Silver Age (1950–1971)

Stories of aliens and supernatural powers were notable elements in the abstract and colorful illustrations of this era, spurred by the launch of the first artificial satellites into space and the beginning of the first manned trips to the moon.

These historical events on Earth inspired publishers to take advantage of what was happening in space to create new stories, allowing experimentation and exploration of more diverse genres. By far, the most successful of the time was horror. These chilling stories rescued the comic book industry, which had been declining and headed toward extinction.

The influence of these horror tales was so strong that it reached the big screen, capturing attention and serving as inspiration for several filmmakers of the time, including acclaimed director John Carpenter.

The visual styles of these stories explored darker and sometimes even unsettling or surreal themes.

SUPERHEROES: Bronze Age (1970–1984)

Enemies gradually became harder to defeat, and new, more powerful, and more evil villains emerged.

This era saw a turning point in comic book history: the irreversible death of Gwen Stacy, a recurring character in Spider-Man comics and the main love of our Friendly Neighborhood Spider-Man. Her death brought an unprecedented level of emotional realism to comic storytelling.

Around the same time, writer Chris Claremont revived a canceled Silver Age series: X-Men. Claremont’s wave of mutants retained their godlike powers, but unlike their Silver Age counterparts, they were rejected and despised by humans precisely because of those powers—considered different and therefore outcasts.

The X-Men’s struggle for equality and the eradication of prejudice against mutants’ genetic traits echoed the civil rights movement that had taken place in the U.S. between 1954 and 1968.

Comic book stories gradually became more realistic, and so did their illustrations and aesthetics.

Marvel revealed a previously unknown side of the Invincible Iron Man, Tony Stark: he was an alcoholic struggling with personal issues.

SUPERHEROES: Dark Age (1984–1998)

Writers showed that the world and life of a superhero were as harsh and dark as the enemies they faced. Good began to show shades of darkness, and evil, a bit of light.

The legacy of Watchmen was so influential it rivaled that of Superman. Its world was uncertain, its villains faceless, its heroes defenseless and vulnerable. Alan Moore’s Watchmen both celebrated and deconstructed the superhero myth.

In The Killing Joke, Alan Moore presented a Joker far beyond a grinning prankster—a terrifyingly psychotic serial killer. The Killing Joke paved the way for future villains and redefined those that already existed, focusing more on psychological torture than on the hero’s death.

Batman, in earlier eras, was far from the mysterious, dark figure haunted by his past that we know today.

During this era, the line between hero and villain blurred. Writers revealed that the line between good and evil never truly existed.

Independent publisher Image Comics was born in 1992, along with its flagship superhero, Spawn.

Spawn had an impressive, though brief, impact of great magnitude in the comic book world. Just a few years after his debut, he was adapted into a film.

Spawn, along with Prophet and The Savage Dragon, helped spark readers’ interest in independent comics, opening doors for new markets, superheroes, visions, and stories, offering readers alternatives beyond Marvel and DC.

The idea of comics as unique literary works led to the publication of several graphic novels, culminating in Maus (1991) by Art Spiegelman, the first comic series to win a Pulitzer Prize in 1992.

Thanks to Maus, comics were finally considered legitimate works of art.

Sin City reinvented noir crime stories with detailed characters, minimal colors, and a world of ambiguous black-and-white forms.

The influence of Silver Age horror could be seen in Venom, with his grotesque jaw of razor-sharp teeth and black body.

SUPERHEROES: Modern Age (1998–Present)

Comics have expanded so much that they no longer possess a defined form. They have evolved into a nebulous mass of unimaginable wonders, with no creative limits—just like the characters within their pages.

Advances in film, television, and video game technology have created an unstoppable stream of adaptations, leading to an increase in the supply and variety of comics and genres.

The impact of Image Comics is still felt, with its legacy alive as readers continue to show interest in independent comics, fueled by the explosive commercialization of the industry.

Today, many readers no longer limit themselves to the industry giants, DC and Marvel, but have opened their minds to independent superhero comics.

We are at a point where anything is possible for comics, their characters, universes, and multiverses. The line between film and comics is now so thin that some movies and series are adapted into comics.

Aunt May: Spider-Man. Sony Pictures. Releasing::

“There are few left who dare to fly around saving old women like me. God knows, children like Henry need a hero. Brave ones who sacrifice themselves for others, setting an example for all of us. Everybody loves a hero. People line up to cheer them… to shout their names. And years later, they’ll tell how they stood in the rain for hours just to catch a glimpse of the one who taught them to hold on just a second longer. I believe there’s a hero in all of us, that keeps us honest, gives us strength, makes us noble, and finally allows us to die with pride. Even though sometimes, we have to be steady and give up the things we want the most, even our dreams.”

Credits:
Original idea, direction, and production: Camilo Hernández
Script and editing: Andrés Fonrodona
Narration: Esteban Salinas

Thanks to the creators of SUPERHEROES around the world, to the companies and creative and artistic industries that have left us a legacy and strong foundations to cling to the force of creative energy. A salute to all those who, like us, believe in the power of imagination!.