Typically, those in society look to officers of the law to protect them in times of extreme need, or when their physical integrity in immediate danger. What if our public officials were state-sponsored, regulated super heroes? It sounds so simple and logical that one wouldn't give much thought to the opposite idea. But, what if it was your body and reputation on the line? Your name and criminal background would be public knowledge, and any and all dangerous, deranged people would know your best kept secret: your identity. The 7-issue story arc Civil War is at its core, a big bold superhero beat-em-up, but if one digs a little deeper, the legislation that sets this chain of events is: "The Superhero Registration Act," which splits the superhero community in two while directly infringing on their right to privacy and civil liberties.
Throughout the story, heroes struggle with conflicting mentalities about 'doing the right thing' for their country, while staying true to themselves and their personas. The tragedy is set in motion when a super powered clash occurs that kills 626 people. Many of the victims are children at a nearby school, which causes public outrage at the superhero community for allowing this tragedy to occur. The tragedy's figurehead is Miriam Sharpe, a mother who lost her young son. Her scathing view of superheroes pushes public opinion to regulation and passing of "The Superhero Registration Act": "Cops have to train and carry badges, but that's too boring for Tony Stark. Naw, Joe Billionaire here says all you need are some powers and a bad-ass attitude, and you can have a place in his private super-gang. You fund this sickness, Stark. With your dirty billions" (Millar, 15).
Although this is a superhero story, there are several real-world overtones that influence the plot and direction of the story. The Patriot Act was a response to the horrific terror attacks that rocked New York City on 9/11/01, when we traded our civil liberties to feel safer. Our phone, medical and other private records were laid bare in the name of National Defense. This story is a clear allegory of what happened that tragic day and the reactionary legislation that came from it. A tragic and deadly event occurs that kills hundreds of innocent children. The public screams for increased national defense. The superhero community splits in two in response to the bill that directly infringes upon an individual's right to privacy and civil liberties in the name of defense. The direct contemporary connections are hard to ignore. The author states: "...in a war, people do dramatic things. There's blood on the hands of both sides, but that's war for you. It's never pretty. But they're superheroes and were only doing this stuff for the right reasons" (Millar, Script Book 181). Much like the public in the real world felt reactive legislation was the right response, the fallout from the decision has unforeseen consequences in the fictional world as well.
Though the author states superheroes are choosing to do the right thing, but it doesn't make them any less conflicted over the law. Tony Stark/Iron Man reflects on his struggle: " 'Twenty minutes to go, Tony. Word is [sic] that we're looking at thirty-eight signatures already.' 'Oh, God. Please let us be doing the right thing here...'" (Millar, 41). Furthermore, friends and allies come to blows about the dangers of the law: " 'The Secret Identity thing isn't such a big deal. The Fantastic Four have been public since the very beginning, and it's never really been a serious concern.' 'Yeah, well...not until that day I come home and find my wife impaled [sic], and the woman who raised me begging for her life'" (Millar, 20). Even though these are fictional people, the stakes are incredibly high for either side of the law. Spider-man is fearful for his immediate family's safety, whereas the Fantastic Four see no immediate threat and readily sign up. Those with nothing to lose in their extended family lives or financial stability readily sign up, but those that have much to lose from being super heroes, instead fight the law, and go underground as criminals. The tension violently explodes, and is poignantly examined by Steve Rogers/Captain America: "They're right. We're not fighting for the people anymore. Look at us. We're just fighting. They're not arresting Captain America, they're arresting Steve Rogers. That's a very different thing" (Millar, 173-174). The power in those words resonates among the fighting heroes, as the escalating tension subsides. Millar states this strongly: "I read the papers, I watch the news and this is what seeps into my writing...obviously, there's a certain amount of political allegory in a story where a guy wrapped in the American flag is in chains as the people swap freedom for security" (Millar, Script 145).
This 7-part story captured what was on the minds of the American people after the signing of the Patriot Act, and functions as a cautionary tale of government progressivism in terms or reactionary law. This particular reactionary law did far more harm than good, which led to the deaths of hundreds more people over an ideological difference. The philosophical analysis of progressivism is interwoven throughout this story in multiple story beats and themes. This is a clear 'meta-text' on the dangers of reactionary progressivism.
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