American Indians Go Graphic
GOLDEN AGE AND FORMATION OF AMERICAN INDIAN STEREOTYPES
Representations of American Indians in comics have a long and problematic history. The Golden Age of comics was dominated by two genres: science fiction and westerns. American Indian characters in western comics were often portrayed as villains and foils for the cowboy “heroes.” When American Indian characters were centered as the protagonist, they were often a “mixed” character whose identity was questioned, mocked, and whose very existence was simultaneously diminished and exoticized. These representations were fundamental in creating the visual vocabulary that would define a Pan-Indian identity for generations to come.
Fleisher, Michael (non-Native). Scalphunter. No. 40. Illus. by George Evans (non-Native) and Dick Ayers (non-Native). DC Comics, 1977. Edwin and Terry Murray Comic Book Collection, Rubenstein Library.
Scalphunter, another “savage Indian” stereotype, first appeared in the pages of Weird Western Tales. Following in the footsteps of Lynn Cabot, Scalphunter features a white central character who is abducted by the Kiowa, later to become a hero teaming up with DC Comics figures like Jonah Hex, and even foiling an assassination attempt on Abraham Lincoln. While scalp-hunting is portrayed as an American Indian practice, European colonists dramatically escalated and monetized the practice during wars.
Newman, Paul (non-Native). Tonto. No. 14. Illus. by Alberto Giolitti (non-Native). Dell Comics, 1954. Courtesy of Lee Francis IV, Ph.D.
The inimitable sidekick received his own comic in the 1950s, having proven to be a popular hero in his own right. Created in 1933 by Fran Striker, the Lone Ranger began as a popular radio drama that expanded into other mediums. In the radio show and comic, the “pidgin English” that Tonto speaks would create its own American Indian stereotype called “Tonto-speak,” still portrayed today. However, in his comic thought-bubbles, Tonto speaks perfect English.
Kinstler, Everett Raymond (non-Native). Firehair, White Daughter of the Sioux. No. 8. Top Quality Comics, 1948. Courtesy of Lee Francis IV, Ph.D.
Originally appearing in Ranger Comics #21 (1945), Firehair tells the story of Lynn Cabot, the white daughter of a businessman. After her wagon is attacked by white marauders masquerading as Dakota warriors, she is rescued by the Sioux “brave” Little Axe and brought to live with the tribe. A popular Golden Age character, she eventually had her own comic run from 1948 to 1952. Her fictional stories were inspired by the “captivity narratives” of the mid-1800s.
O’Neil, Dennis (non-Native). Green Lantern/Green Arrow. Vol. 2, no. 79. Illus. by Neal Adams (non-Native) and Dan Adkins (non-Native). DC Comics, 1970. Edwin and Terry Murray Comic Book Collection, Rubenstein Library.
This cover presents a jumble of pan-Indian stereotypes, with Plains headdresses and Pacific Northwest totem poles standing in for (as identified in text) Southwestern American Indian people’s culture. This story itself addresses issues of land theft and broken treaties, but ultimately sidelines American Indian voices in favor of a white savior narrative that does not “save,” as the land theft is left unresolved.
Cameron, Don (non-Native). “Pow Wow Smith.” Illus. by Carmine Infantino (non-Native). In Detective Comics. No. 151. DC Comics, 1949. Edwin and Terry Murray Comic Book Collection, Rubenstein Library.
Debuting in 1949, Ohiyesa “Pow Wow” Smith represents the “Noble Indian” stereotype. He is a highly Western-educated Sioux man who becomes sheriff of Elkhorn, upholding Western justice. The name “Pow Wow” was initially a slur used by the white townsfolk that becomes normalized. His real name, Ohiyesa, is a reference to the real Dr. Charles “Ohiyesa” A. Eastman (Santee Dakota), one of the first American Indians to be certified in Western medicine.
*Note verso is a facsimile from later in this volume.
Hamilton, Edmond (non-Native). Action Comics. Vol. 1, no. 148. Illus. by Al Pastino (non-Native). DC Comics, 1950. (not shown).
This issue (left) contains one of Superman’s more controversial actions. After a Native man challenges ownership of Metropolis in court, proving the original 17th-century land sale was illegal, Superman travels back in time in order to ensure that the Natives (the unnamed Lenape people) sell their land legally to clear way for non-Native settlement. The narrative is a wild twist of historical irony and super-powered colonial logic that reinforces settler myths.
Dixon, Buzz (non-Native). SuperPro. No. 6. Illus. by Joe Delbo (non-Native). Marvel Worldwide, Inc., 1992. Courtesy of Lee Francis IV, Ph.D. (not shown)
In 1991, the NFL and Marvel Comics created a new superhero called SuperPro (right). After surviving a freak accident, football superfan and scientist Phillip Greyson created a near-indestructible football uniform and dons it to fight crime. Sometimes considered one of Marvel’s worst comic series, issue #6, “Trail of Tears,” faced significant backlash by members of the Hopi Tribe due to its sacrilegious portrayal of sacred Kachinas, ultimately leading to the issue’s recall.
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