When Canada Post released a series of five Canadian comic book-based superhero stamps in 1996, it seemed something of a symbolic victory for the otherwise largely marginalized Canadian comics industry. In looking more deeply, however, we see that the five Canadian superheroes chosen--Superman, Johnny Canuck, Nelvana of the Northern Lights, Captain Canuck, and Fleur de Lys--illustrate a set of tensions that surround the intersection of popular culture and federal institutions within Canada. Superman is, of course, the most famous superhero among the five and is best associated with his dedication to truth, justice and the American way, a jingoistic credo that immediately throws his status as a Canadian icon into question. Yet his incorporation into the national superhero mythos appears necessary for several reasons. Superman is included in the set most obviously because he was co-created by the Toronto-born (though Cleveland-raised) Joe Shuster, a connection that has often been used to suggest that the character's heritage is at least half-Canadian. Second, as the first comic book superhero, Superman takes on the role of forefather to the rest of the characters in the set, authorizing them as his symbolic heirs. Indeed, the specific Canadianization of Superman by the stamps serves to legitimize the entire project of Canadian superhero canonization generally. The remaining superheroes recognized by Canada Post are less familiar, though perhaps no less important in the history of efforts to nationalize the superhero icon. Both Johnny Canuck and Nelvana were heroes of the Second World War, and characters that are associated with the brief Golden Age of Canadian comics production. The decision to feature two characters from the same publishing house--both were produced by Bell Features--rather than a more popular wartime character such as Canada Jack can be traced to the fan-initiated processes of rediscovery and rearticulation that surrounded Canadian superheroes in the 1970s. A fourth figure, Captain Canuck, was one of the blatantly nationalistic heroes of the Canadian post-Centennial era of the late 1960s and early 1970s that were influential within comics fandom, albeit short-lived on the newsstands. The inclusion of Fleur de Lys, a supporting character in a little known and short-lived comic book from the mid-1980s, seems to be the most arbitrary inclusion. The fact that the character is Francophone in a genre almost completely associated with English language cultures was probably the key factor in the character's selection, as Canada Post would likely feel an obligation to represent Canadian linguistic duality in the stamp set and, because it developed in a much different cultural context, there are no Quebecois superheroes available to be recognized. Canada Post's choices, therefore, suggest that processes of national mythmaking and regional reconciliation collided with the generally insular culture of English-Canadian comic book fandom in shaping the orientation of the set of commemorative stamps. To understand the process whereby the Canadian comic book industry was repatriated as a part of Canadian nationalism, it is important to consider not only the history of the comic book in Canada but, more importantly, the ways that fan discourses helped to shape the recuperation of the Canadian superhero during its second wave of popularity in the post-Centennial period by distinguishing it from superheroes in the United States. In short, this paper will address the way that various comic book creators and publishers have, at different historical moments, mobilized the cliches of Canadian nationalism in the form of the superhero in order to create for themselves a unique niche in the overall field of superhero comic books. The Nationalist Superhero In his book, Superheroes: A Modern Mythology, Richard Reynolds seeks to identify a number of conventions related to the superhero narrative through reference to various mythical tropes. …
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