By Gerhard Seyfried
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Extra info for Das schwarze Imperium. Comic
This Sisyphean impasse finds a striking analogue in what might be described as the frozen temporality of many superhero narratives. ”3 Despite their seventy-odd years of ostensibly continuous narrative history, characters like Superman and Batman never age and always eventually return to a kind of fundamental narrative stasis no matter what happens in a given story. Even as the larger narrative contexts of these characters have gradually transformed, this framework allows them to maintain the illusion of fixity.
12. , McSweeney’s Quarterly Concern 13 (San Francisco: McSweeney’s, 2004). 13. For Spiegelman on Kurtzman, see Art Spiegelman, “H. K. ),” in An Anthology of Graphic Fiction, Cartoons, and True Stories, ed. Ivan Brunetti (New Haven: Yale University Press, 2008), 57–59; for Spiegelman on Cole, see Art Spiegelman and Chip Kidd, Jack Cole and Plastic Man: Forms Stretched to Their Limits! (San Francisco: Chronicle Books, 2001). In his strips about the 9/11 attacks and their aftermath, Spiegelman frequently mimicked old comics such as Krazy Kat and Little Nemo and reprinted samples of these earlier works.
Although this man does not appear in the novel aside from miniature panels in the book’s opening diagram, he effectively returns in the place of the two doctors with whom Jimmy interacts. Three generations of Jimmy’s ancestry are thereby elided as two wildly distant moments of family history are brought into contact with one another through a doubling that only the reader can recognize. The name “Superman” is evoked only to facilitate this exchange. Its central place in conventional understandings of the comics medium demonstrates the significance of this transaction, but the word itself has no real significance of its own.