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The Comic Book Arab
The American comic strip first appeared in the 1890’s during the newspaper wars between William Randolph Hearst’s New York Journal and Joseph Pulitzer’s New York World. Comic books first appeared in 1911, when a collection of Mutt and Jeff comics was reprinted in the Chicago American. In June, 1938, Jerry Siegel and Joe Shuster, two Cleveland teenagers, introduced in Action Comics # 1 a refugee from the doomed planet Krypton. (A mint condition of that copy can now bring as much as $15,000.) Superman soon became the superhero model of today’s super $275 million industry. Other types developed to fit demographic niches, including: characters out of nursery rhymes or animals invested with human characteristics, such as Walt Disney’s Mickey Mouse; adult comics that found their genesis in the underground movement of the late 1960’s and early 1970’s; and a wide range of comic books specializing in hobbies, sports and education. It is the image of the Arab in these comic books that we examine in this study. What we will find is this: everywhere the Arab is the enemy: Arabs vs. Donald Duck, Batman, Sgt. Rock, Hawkman; Arabs vs. Americans, Israelis, Europeans; Arabs vs. common human decency. Nearly all these Arab villains fall into one of three categories: the repulsive terrorist, the sinister sheikh, or the rapacious bandit. And all of them, Arab men and Arab women, come with their own distorted sex roles. ARAB AS TERRORIST At least fifty instances of Arab terrorist activity were recorded in our study. Indeed, one could easily conclude that terrorism is the most favored subject of writers and illustrators. Tragically, they ignore realistic portraits. Generations and nations of Arabs have negotiated compromises, agreements, and settlements based upon conciliation and cooperation. Saudi Arabia is one of the United States’ most trusted allies and trading partners. Yet, if we are to believe images portrayed in comic books, Arabs are sinister fanatics who wish to subjugate the western world through a reign of terror. Consider terrorist portraits in the following comics. Batman: A Death in the Family (DC Comics # 426-429, Jim Starlin, 1988). This four-part series begins as the Joker escapes from a mental hospital. He plans to sell Arab terrorists a nuclear Cruise missile to obtain much needed funds. In pursuit of the lunatic escapee, Batman accidentally discovers the Joker’s plan. The action shifts to “the Northwestern Mediterranean coast of Lebanon,” where Batman encounters resistance from a “Shiite Extremist Group,” which does not care to give up the C-130 transport plane the Joker has hijacked to deliver his cargo. Batman does battle with suspicious-looking Arab men dressed in green combat garb. They tote submachine guns and wear blue head dresses. As the Joker concludes his nuclear arms deal with Jamal, identified as the leader of the Arab terrorists, one of the Joker’s entourage asks, “You get the money from these BANDITS-IN-BED-SHEETS?” Jamal appears as an overweight, double-chinned Arab type, his mouth permanently affixed in a sneer. The others are sketched as an uncouth lot—most with unkempt facial hair and brandishing weapons. Jamal is delighted with his new toy and is prepared to fire it immediately. His intended target? Tel Aviv! Batman foils Jamal’s scheme to destroy the Israeli city, but the Joker escapes and subsequently meets the Ayatollah Khomeini who offers him the job of Iranian Ambassador to the United Nations. Ever the opportunist, the Joker accepts. Batman is present when the Joker, garbed in Arab headdress and robe, addresses the United Nations’ General Assembly:
The Joker then proceeds to rip off his costume and gas the entire chamber. Fortunately, Superman, disguised as a security guard, saves the day by inhaling the toxic fumes.
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