Our Gods Wear Spandex: The Secret History of Comic Book Heroes | 
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| Author: Chris Knowles
Creator: Joseph Michael Linsner
Publisher: Weiser Books
Category: Book
List Price: $19.95
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Avg. Customer Rating:  15 reviews
Sales Rank: 97666
Media: Paperback
Number Of Items: 1
Pages: 256
Shipping Weight (lbs): 1.3
Dimensions (in): 8.9 x 7 x 0.7
ISBN: 1578634067
Dewey Decimal Number: 741.5352
EAN: 9781578634064
ASIN: 1578634067
Publication Date: November 1, 2007
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Stan Lee
"You think superheroes are something new? Wait'll you read the exciting spin that Knowles and Linsner put on them!"
Book Description
From occult underground to superhero! Was Superman's arch nemesis Lex Luthor based on Aleister Crowley? Can Captain Marvel be linked to the Sun gods on antiquity? In Our Gods Wear Spandex, Christopher Knowles answers these questions and brings to light many other intriguing links between superheroes and the enchanted world of estoerica. Occult students and comic-book fans alike will discover countless fascinating connections, from little known facts such as that DC Comics editor Julius Schwartz started his career as H.P. Lovecraft's agent, to the tantalizingly extensive influence of Madame Blavatsky's Theosophy on the birth of comics, to the mystic roots of Superman. The book also traces the rise of the comic superheroes and how they relate to several cultural trends in the late 19th century, specifically the occult explosion in Western Europe and America. Knowles reveals the four basic superhero archetypes--the Messiah, the Golem, the Amazon, and the Brotherhood--and shows how the occult Bohemian underground of the early 20th century provided the inspiration for the modern comic book hero. With the popularity of occult comics writers like Invisibles creator Grant Morrison and V for Vendetta creator Alan Moore, the vast ComiCon audience is poised for someone to seriously introduce them to the esoteric mysteries. Chris Knowles is doing just that in this epic book. Chapters include: Ancient of Days, Ascended Masters, God and Gangsters, Mad Scientists and Modern Sorcerers, and many more. From the ghettos of Prague to the halls of Valhalla to the Fortress of Solitude and the aisles of BEA and ComiCon, this is the first book to show the inextricable link between superheroes and the enchanted world of esoterica. * Chris Knowles is associate editor and columnist for the five-time Eisner Award-winning Comic Book Artist magazine, as well as a pop culture writer for UK magazine Classic Rock. * Knowles worked with Robert Smigel on The X Presidents graphic novel, based on the popular Saturday Night Live cartoon, and has created designs and artwork for many of the world's top superheroes and fantasy characters. * Features the art of Joe Linsner, creator of the legendary Dawn series, and more recently a collaborator with comics maestro Stan Lee.
An Exclusive Preface to Our Gods Wear Spandex: The Secret History of Comic Book Heroes by Christopher Knowles
Following the example of Joseph Campbell, some academics have claimed that our society has no room for myth, no room for legends, and certainly no room for gods. But look around; modern Western culture is not lacking in mythology, it's actually swimming in it. Everywhere you look there are comic books, cartoons, video games, novels and movies recycling ancient mythological themes, as well as incorporating ideas and imagery from paganism, the occult, Gnosticism and the ancient Mysteries. And ironically, it was with the Star Wars films, created by Campbell's patron George Lucas, that this whole modern mythological explosion began.
Many younger people don't realize how much Star Wars changed the landscape of pop culture. Prior to Star Wars, science fiction and fantasy were pretty much box office poison. It didn't help that most sci-fi films on the early-to -mid 70's were dystopian sermons such as Westworld, Silent Running, Soylent Green and Logan's Run. In fact, Lucas had to fight tooth and nail just to get financing for his sci-fi epic.
Besides raking in billions of dollars, Star Wars single-handedly injected mythology back into the mainstream. And to do so, George Lucas hijacked a whole buffet of riffs straight from the comic books. Despite this success, it would take some time for Hollywood to consolidate the formula for broad-spectrum branding and marketing that Lucas had pioneered. But not coincidentally, one of the most successful initial attempts was the first Superman film. Ultimately, it would be the first Batman film in 1989 that truly perfected the idea of the big-budget movie franchise. Hot on its heels, the comic book property Teenage Mutant Ninja Turtles would launch a film and toy franchise that would rake in billions and codify this formula.
Today, these franchises not only produce massive revenues at the box office, they also sell lunch boxes, breakfast cereals, action figures, party favors, and yes, even comic books. And aside from franchises like Harry Potter (which bears a very strong resemblance to the earlier Books of Magic comic series), and the Pirates of the Caribbean and James Bond series (both of which draw heavily upon the feel and rhythm of comic books), it's the comic book properties like Spider-Man and The X-Men that make the rest of Hollywood weep with numismatic envy. But these films would never do so if the themes they put forward did not strike a powerful chord in the collective unconscious.
The chord these characters strike is something very deep and profound in the human psyche. It's the need to be protected, the need to have wrongs righted, and injustices avenged. It's one of the basic human impulses that gave rise to mythology in the first place. But there is also a vicarious impulse there, to be something more than human, something better. Sometimes this impulse can go horribly awry and give rise to racism, genocide and totalitarianism. It can create the yearning for a strongman dictator, a big brother to protect us against inflated, often illusory threats. In contrast, the writers and artists who have created our most compelling modern mythologies have, consciously or not, by-passed the authoritarian strictures of religious and political mythology entirely and tapped into another current...
Throughout history there has been a parallel spiritual tradition, a counter-culture to the official cults of the state. In the pre-Christian west, there was a wide-ranging class of initiatic sects known today as the "Mystery" religions. These cults offered a personal revelation to their followers, something taken for granted by many modern believers, but deeply radical in those days. These cults often attracted the best and the brightest of their time, and from these cults some of the greatest scientific and cultural thought would emerge. Yet they were often the breeding ground for sedition and revolution, and so were often subject to bloody repression by the political elites. The Mystery tradition was strongest in Egypt, and the many of the finest thinkers of the Hellenistic world (like Plato and Pythagoras, to name two) would travel there to initiated in the ancient pyramids and tombs.
The ecstatic cults of Egyptian gods like Osiris and Horus would mutate into the Greco-Roman Dionysian and Mithraic mysteries, respectively, but the "Great Mother" goddess Isis would rise to great prominence in Roman times with her identity intact. Yet, all of this would be swept away with the rise of totalitarian Christian theocracy in the Fourth Century. The magnificent schools and libraries of the ancient world would be unceremoniously destroyed, as would many of the great ancient teachers. Hypatia, the last of the great Platonic scholars, would be tortured to death in a Christian church by a fanatical mob of monks in the Fifth Century. The result of this suppression was the poverty, violence, ignorance and disease of the Dark Ages. Unsurprisingly then, followers of the ancient Mysteries went underground. But the ancient teachings would reemerge in the Renaissance, and would soonafter give rise to powerful secret societies like Rosicrucians and the Freemasons.
A new flowering of the ancient Mysteries would come with the convulsions of the 19th Century, where millions of people were uprooted from the agrarian environment their families had known for ages and crowded into filthy, chaotic cities to work the "infernal machines" of the Industrial Revolution. This revolution created a social crisis of a scope unseen since the fall of Rome. At the same time, Charles Darwin's theories on the origin of species pulled the rug of cosmological certainty out from under the feet of the educated classes. Mankind didn't seem so special after all, and what's more, seemed destined to be replaced by smoke-spewing machines. It was in this environment that a group of eccentric thinkers turned once again to those dusty old books for an answer.
My book, Our Gods Wear Spandex: The Secret History of Comic Book Heroes tells you exactly how the pipe dreams of Victorian mystics would eventually mutate and filter down in to the lowly comic book and then come to dominate the box office charts. It tells you exactly who helped bring the ancient gods back to life and dressed them to the nines in the latest synthetic fabrics. It tells you exactly why the idea of the superhero has become so compelling to the mainstream yet again. And it tells you exactly what brave new future superheroes may be unwittingly pointing to for the human race...
2007 Christopher Knowles
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| Customer Reviews: Read 10 more reviews...
 Based on the Introduction I won't bother with it June 25, 2008
0 out of 1 found this review helpful
When it opens with a statement as ludicrous as the one giving Star Wars credit for the modern superhero mythology, it betrays such poor research and self-satisfied ignorance as to make it clear to me it's not worth reading. The Spandex-clad savior was in our popular culture for at least two generations before that, beginning with the Phantom and of course coming into its own with Superman, Batman, the Sub Mariner and all the many characters of the 1940's. Superman and Batman were known worldwide thirty years before Lucas's hackneyed nonsense. Joseph Campbell was apparently also unaware of the comics - since he gives them no mention but praises Star Wars when discussing popular modern myths - which suggests he should have stepped out of the Antiquities section of the library and actiually LOOKED at the popular culture before writing about it. The same goes foe Mr. Knowles.
 Mysteries Revealed May 7, 2008
1 out of 2 found this review helpful
Want to learn about the history of secret societies and their links to the modern myth that is the superhero? This is the book to read. Whether you're into comics, history, mythology or just plain learning about stuff you've probably never even thought about, this book has it all. I can't wait to see the movie version!
 Excellent points, but unorganized and easy to get lost March 20, 2008
0 out of 1 found this review helpful
I picked up this book thinking it would be a fun and thorough examination of comics as a modern telling of religion and all the things that come along with it (mythology, mysticism, occultism, etc). It does all of that, but I think the book fell just a little short of what I was hoping for.
It opens with a detailed history of religion and mythology, and how it gave rise to occultism and mysticism. Then it follows that into the involvement of literary figures (Poe, Lovecraft, Doyle, etc.) which then creates the pulps and then eventually comics. It's a solid evolution, but it suffers greatly in its segregation of topics. The first half of the book is all about religion, with very little to do about comics. The middle is about literature and social trends, and then it picks up about comics, with little to do with religion -- certainly not enough to make a solid argument.
I think the author is 100% right in his claims. I just think they suffer in this book from being separated and isolated from one another. It seems like he felt he had to give us the background on religion first, and then show us how comics have translated it. A better outline, I think, would have been to jump right into the history of comics, told chronologically and pulling aside at times to expand on how the characters represent religious aspects.
By separating them as he's done, the author separates also characters from religion and defeats his whole purpose. At times, it felt like I was reading two, and sometimes even three, different books.
In all, I think the author almost nails it. It's a great book with great analysis and revealing comparisons. It's only fault is that it fails to combine the two aspects of comics and religion at once, choosing instead a "this and that" format.
a fanboy gets published March 7, 2008
2 out of 3 found this review helpful
Readers who are interested in this topic and considering this book should pay close attention to the subtitle. The book is really nothing more than a loose history of occult ties to superheroes. It can be very interesting in places, but it is a wide scattering of information and very little, if any, connecting of the dots.
One also gets the feeling, in many places, that the book is simply an excuse for Knowles to provide his own amateur reviews of comic books and films. The book is riddled with typos and poorly composed. A more apt title would be: A "Just the Facts" Expose of the Occult Origins of Superheroes, A Good Dose of Shameless Jack Kirby Worship, and the Best of Reviews and Social Commentary from a Fanboy's Blog.
The histories of American comic book heroes and who defined them considers both the social and mythical impact and influences on March 4, 2008
1 out of 1 found this review helpful
The histories of American comic book heroes and who defined them considers both the social and mythical impact and influences on these heroes, arguing that fantastic characters aren't just entertainment, but deities for modern technological society. From the occult origins of such characters to the attraction magic and the occult has held over all, this analysis earns a place not only on the shelves of New Age libraries, but for any collection strong in social issues, myths, and the needs of modern society.
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