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Ethnic stereotypes in comics

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1029:#197 (June 1964). That issue began the "New Blackhawks", an attempt to modernize the team that included new uniforms. Chop-Chop got a uniform and his own aircraft (he had nearly always ridden with Blackhawk or one of the other team members prior to this time). Chop-Chop was treated and portrayed as a full member of the team from this point on but certain stereotypical factors were still in play. Like most Asian comic book heroes, he was now a martial arts expert. This was emphasized even more when the Blackhawks tried being super-powered heroes in issues #228 (January 1967) to #241 (Jun–Jul 1968). In that run of stories, Chop-Chop was known as "Dr. Hands". 820:, and were politically motivated. They were frequently pitted against White villains, representing the Black struggle against 'The Man': a catch-all phrase popularized during the Civil Rights Movement to represent the White power structure. However, as much as the blaxploitation era superheroes contrasted earlier racial caricatures of Blacks in comics, one attribute remained common—hypersexuality; many Blaxploitation heroes were still highly masculinized, reminiscent of the Mandingo stereotype, and were frequently seen sexually dominating White female characters. Examples of such blaxploitation characters include 229: 3479: 333: 65: 778:, argues that the need for comic strips to appeal to diverse national audiences in the US meant that the outright racial caricatures of minstrelsy did not translate to the comic strips with any commercial success. Instead artists and writers developed "de-raciate" Black stereotypes in the form of funny animal characters the first of which Felix the Cat owed his existence directly to the 3468: 3456: 167: 24: 3489: 441:, some members of ethnic and racial communities have focused their attention on stereotypes within comics, and have begun lobbying to change them. This is accomplished in many ways, frequently by either writing new character of color or "trans-racializing" existing characters to become racial or ethnic minorities (e.g. the changing of 452:, and many writers advocate not just the inclusion of characters of color into predominantly White casts of characters, but that these minority characters defy the racial and ethnic stereotypes so prevalent in the history of comics, as well as maintaining the high standard of comic book writing. Daley Osiyemi, creator of 1024:
said: "Many companies were still coloring Asians bright yellow... In the '40s and '50s, the character Chop Chop in the 'Blackhawks' had big buck teeth, a long pigtail and lots of cleavers. It wasn't until sometime in the '60s that he evolved into a short slim guy who was a jaundiced shade of orange".
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of Eisner's 1940s and 1950s character The Spirit. Eisner later admitted to consciously stereotyping the character, but said he tried to do so with "responsibility", and argued that "at the time humor consisted in our society of bad English and physical difference in identity". The character developed
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avoided all the racial and ethnic stereotypes that had previously defined Chop-Chop's character except one. They put him back in the coolie outfit that the character had worn for a large part of his existence. This was a deliberate move so they could examine why Chop-Chop was not treated like a full
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appearance (for example, a long wispy moustache and yellow-tinted skin). They were often highly intelligent or in possession of a powerful, supernatural ability and generally occupied themselves with elaborate plans for world domination, although they were usually thwarted by the American heroes of
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both published comic books featuring Chinese villains physically resembling Fu Manchu and possessing the same personality, sexual ambiguity, and ambitions for world domination. Because neither publisher possessed a license for the Fu Manchu character, these early Chinese comic book villains were
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bringing civilization to the uneducated blacks. According to one reviewer, "the Africans are portrayed as primitive, simple-minded folk". Hergé, 23 years old when he began the album, defended himself as being naïve instead of intentionally racist. Nevertheless, the album was not translated into
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In the next revival of the Blackhawks (with issue #244, Jan–Feb 1976), Chop-Chop got a new name, Chopper, and was treated pretty much like all the other members of the team. He was no longer an ethnic caricature and the decades of his portrayal as one were simply ignored as if they had never
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Although both DC and Marvel have since declined to renew their license for the Fu Manchu character, Fu Manchu has made brief appearances in modern comics, As the result of Marvel Comics later losing the rights to the Fu Manchu name, his later appearances give him the real name of
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Nearly all Asian characters in mainstream American comics are capable of martial arts, and for several Asian characters, this is their only skill or ability. An overwhelming number of Asian characters, particularly those of Japanese descent, are portrayed as masters of
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of Black faces. These features often included long unkempt hair, broad noses, enormous red-tinted lips, dark skin and ragged clothing reminiscent of those worn by Black slaves. These characters were also depicted as speaking accented English. In the early 20th century
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community found the character of Chop-Chop to be highly controversial and offensive. Addressing the disparity of Asian American characters in the comic industry and the stereotypical images of early characters, noted Asian American comics writer
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In 1938, DC Comics obtained the license for Sax Rohmer's character, and subsequent titles featured Fu Manchu as a recurring villain. Marvel Comics obtained the rights for Fu Manchu in 1972, and he was notably introduced as the father of Marvel's
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feature by his former office manager-turned-journalist, Marilyn Mercer wrote: "Ebony never drew criticism from Negro groups (in fact, Eisner was commended by some for using him), perhaps because, although his speech pattern was early
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and co-founder of Pulp Theatre Entertainment said, "...we don't just want black characters or superheroes in comics as mere tokens, they have to be strong characters in their own right and have strong stories built around them".
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Many Asian characters were pitted against White American protagonists in early American comics, capturing America's real-world frustrations and political distrust of foreign Asian powers. Symbolizing America's "phobia of the
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member of the team in a story titled "What's the Matter with Chop-Chop?" (#265, December 1983). The story has the other Blackhawks examine their attitudes and feelings and, at the end, Wu Cheng gets respect and a uniform.
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Female Asian characters in comics are frequently depicted as hypersexualized, cold-blooded and untrustworthy, in a racial caricature frequently referred to as the dragon lady. This stereotype references the popular
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Nonetheless, for many years, comic book characters noticeably lacked racial and ethnic diversity. Diversity in comics first started during the 1940s but persisted during the decades. Comics writer and artist
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Critics of the portrayal of early Black characters note the frequency with which Black characters were shown as "savages", frequently shown with bones in their ears, noses, and hair, or depicted as
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Several early characters of Asian descent were introduced as the clumsy, foolish and bumbling sidekicks of White male superheroes. These characters were frequently caricatures of the Chinese
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has written extensively on the plight of Arabs in the American mass media. He wrote that due to ignorance, fear, and political beliefs, Arabs are rarely portrayed as anything but
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limited series explains the earlier stereotypical representations as a comic-book-within-a-comic-book and the Chop-Chop of that team expresses indignation toward them.
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beyond the stereotype as the series progressed, and Eisner also introduced black characters (such as the plain-speaking Detective Grey) who defied popular stereotypes.
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Early graphic art of all kinds often depicted Black characters in a stylized fashion, emphasizing certain physical features to form a recognizable racial
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as the inspiration for his mutant team of superheroes, and has translated many of the tensions of majority-minority race politics into the X-Men title.
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or as a convenient hostage for the villain of the day. Examples of such characters include the controversial Chop-Chop (aka Wu Cheng) of DC's
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Given the recent popularity of injecting characters of color into popular comic titles, a new concern has arisen regarding possible
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Prasso, Sheridan. The Asian Mystique: Dragon Ladies, Geisha Girls, & Our Fantasies of the Exotic Orient (2005 Public Affairs)
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In the 1970s, several African American heroes were created and paired with established white heroes as sidekicks and
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protagonists, nor overshadowing the active role of the evil Arabs in the book. Examples include Marvel's Fasaud,
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captures an Arab who is attempting to drive American oil companies out by launching a terrorist campaign.
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In the late 1960s and throughout the 1970s, several African-American heroes were created in the vein of
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An early black character to be incorporated into a syndicated comic strip was Lothar, who appeared in
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either unnamed or had a different name than Fu Manchu. Examples include DC's Red Dragon and Marvel's
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their time. While usually serious threats, one somewhat humorous Yellow Peril villain was DC's
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humor of a strip named "Sambo and His Funny Noises". Other examples of such characters include
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attitudes of their writers and readers. In America, early comics consisted primarily of short,
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Zimmerman, Carla B. "From Chop-Chop to Wu Cheng: The Evolution of the Chinese Character in
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said "...when you look at the shelves and see half the titles on sale are characters like
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The Asian Mystique: Dragon Ladies, Geisha Girls, and Our Fantasies of the Exotic Orient
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English until 1991—more than 50 years after its initial release—due to those concerns.
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movement. These (predominantly male) heroes were often martial artists, came from the
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character and title evolved as a vehicle to communicate pro-American attitudes during
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published a series of novels focusing on the wildly popular Chinese villain, Dr.
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comic strips printed in newspapers. In the 1930s, comics evolved into longer,
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Prasso, Sheridan (2006). "Hollywood, Burbank, and the Resulting Imaginings".
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illustrated the cover, and the issue included an interview with him as well.
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The Society for the Study of the Multi-Ethnic Literature of the United States
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We don't just want black characters or superheroes in comics as mere tokens.
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in the 1930s. He was Mandrake's sidekick: the circus strongman, who wore a
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deal primarily with USA (one short Belgian entry) and do not represent a
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Restrictive Portrayals of Asians in the Media and How to Balance Them
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Restrictive Portrayals of Asians in the Media and How to Balance Them
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is sometimes criticized for his depiction of Ebony White, the young
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Chop-Chop was the youngest member of the Blackhawk team created by
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Comic Book Nation: The Transformation of Youth Culture in America
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Association des Critiques et des journalistes de Bande Dessinée
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The Deathly Embrace: Orientalism and Asian American Identity
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Mercer, Marilyn, "The Only Real Middle-Class Crimefighter",
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happened. It took a third revival of the title in 1982 (
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Fanzing 32, March 2001: Black Power or Blaxploitation?
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The Appendix to the Handbook of the Marvel Universe
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Attempting to capitalize on this success, 776:Comic Strips and Consumer Culture, 1890–1945 2004:, Oddball Comics #1148, February 25, 2007. 1025:The event to which Hama refers occurred in 52:Learn how and when to remove these messages 3402:British Amateur Press Association (comics) 3290: 3200:Billy Ireland Cartoon Library & Museum 3063: 2761: 2468: 2277: 2043: 2029: 2021: 1848: 1846: 1700:"Shang-Chi Creator Doesn't Want Fu Manchu" 968:English. These characters often served as 3397:Academy of Comic-Book Fans and Collectors 3311:Association of Comics Magazine Publishers 373:Learn how and when to remove this message 292:Learn how and when to remove this message 274:Learn how and when to remove this message 211:Learn how and when to remove this message 149:Learn how and when to remove this message 3359:Canadian Society for the Study of Comics 1338:Shaheen, Jack (November–December 1991). 1664:, (University of Minnesota Press, 2000) 1543: 1541: 1266:, copyright 2004 Blackwell Publishing). 1240: 1175:'s series of pulp novels featuring Dr. 1437:from the original on 18 September 2008 3217:Caricature & Cartoon Museum Basel 1989:Sax Rohmer and Fu Manchu - the comics 1949:"Fah Lo Suee (Daughter of Fu Manchu)" 7: 3168:Comics solicited but never published 596:As far back as 1953, in an issue of 355:adding citations to reliable sources 87:adding citations to reliable sources 3488: 3316:Australian Cartoonists' Association 3306:Association of Canadian Cartoonists 1224:List of Native American superheroes 976:team and Wing-How, sidekick of the 1403:from the original on 16 March 2004 891:In the early 20th century, author 14: 945:League of Extraordinary Gentlemen 33:This article has multiple issues. 3487: 3478: 3477: 3466: 3454: 3417:Comic Legends Legal Defense Fund 3331:Samahang Kartunista ng Pilipinas 3232:Fred Waring's Cartoon Collection 1304:Redington, James (26 May 2006). 1146:'s title character in the film, 331: 227: 165: 63: 22: 3247:Museum of Comic and Cartoon Art 1509:. 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Comic Book Resources. 874:) and often possessed a 753:had about the people in 3212:British Cartoon Archive 3205:National Cartoon Museum 2011:Will Eisner interview, 1611:African American Review 1590:March 17, 2008, at the 1551:. London: John Murray. 1484:New York Herald Tribune 1458:.com (Sept. 19, 2003): 693:New York Herald Tribune 496:, and Mark Kalesniko's 307:(the representation of 3422:Finnish Comics Society 3379:Svenska Serieakademien 3369:Comics Studies Society 3237:Gibiteca Antonio Gobbo 2741:Women in Refrigerators 2736:The Hawkeye Initiative 2374:Female comics creators 1840:Prasso, Sheridan, 2005 1594:Accessed 29 June 2006. 1547:Farr, Michael (2001). 1346:. AMEU. 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