#olivertxt

It's since been pointed out that while Lichtenstein did copy one of Russ Heath's drawings of an airplane getting hit, the painting depicted above was actually copied off Irv Norvick, because Lichtenstein did this so many times to so many comic artists.

In Lichtenstein's defense, he was doing this in a time when comic artists frequently weren't even credited in the issues themselves. In his condemnation, he never even tried to check, nor has he made any move to pay or credit any of the comic artists who recognized their own work later on. Rather than elevating the "low art" of comics, he was widening the gap of financial success and respect even further.

The Hbomberguy of this story is art historian David Barsalou, who has now spent decades tracking down the original art and the names of the original artists used in Lichtenstein's most famous output. Here's the flickr gallery for the Deconstructing Roy Lichtenstein project. Frequently copied were Tony Abruzzo, Ted Galindo, Mike Sekowsky, Joe Kubert, Jerry Grandenetti, and dozens more Golden Age artists who aren't very well known in comics circles, let alone art history books. Many of them died in poverty. That's something that the Hero Initiative, mentioned in Russ Heath's comic above, aims to prevent.

Hey, I've been looking for an excuse to post about this. The Sam Bullit arc isn't really about Gwen (though it certainly reveals some things about her character). The Sam Bullit arc is about racist dogwhistles and why they work.

ASM #92 pg 19: "I will bring law and order to the people of this great city! I will show no mercy to the anarchists and all others who would destroy our way of life!"

Bullit's platform is not openly white supremacist in the sense that it doesn't overtly mention race. He talks about laws and safety in a way meant to appeal to rich white voters. The true meaning should be clear to anyone with any political awareness (who are those others and what is our way of life?), so why does this rhetoric attract "otherwise rational" people?

ASM #91 pg 6: "I want to volunteer to help you--in your campaign for DA. Because--I want you to bring Spider-Man to justice!" "We need strength--strength to punish those who mock the law! I will use such strength to bring Spider-Man and others like him to justice! I will not betray your trust."

Gwen makes her decision to back Bullit on the way home from her father's funeral. There's a very real phenomenon of tough-on-crime bills named after (white) murder victims. The grief of families who feel like justice hasn't been served is a powerful tool to push harsh laws while smothering any criticism as "disrespectful" to the victims. What’s in a Name? An Empirical Analysis of Apostrophe Laws, 2020.

Bullit showed up at George Stacy's funeral with this exact goal in mind, and when Spider-Man "kidnaps" Gwen later, he leverages the media obsession with white girls in danger for his cause. Gwen is a pawn, but she did offer her help first. Her desire for closure is very human and her short-sighted reactionary faith in "the law" is very white.

Oddly absent from your "proven bad person" takeaway is J. Jonah Jameson. The Bugle lends Bullit a platform to make Gwen's personal tragedy a political talking point. JJJ has the ~Black best friend~ excuse and everything, and he still blows past red flags like crazy.

ASM #91 pg 7: "Maybe they were better days than now! At least we had law and order then." "Yeah--and lynch mobs, and bread lines, and Uncle Toms..." "Come off it, Robbie! What's wrong with a man standing for law and order, anyway?" "Maybe it just depends on whose law--and what kind of order you're talkin' about, man!"

(Another point of this arc: marginalized groups learn to recognize dogwhistles pretty quickly for survival reasons. If they tell you something is a dogwhistle and you don't see it yet, look closer.)

ASM #92 pg 9: "Parker's story just served to open Jameson's eyes--but I've kept a dossier on you. I haven't been city editor all these years for nothing! I know where your support comes from. I know about the lunatic hate groups who are backing you. I know what you really mean by law and order!"

Late in the campaign, the Bugle switches sides. This scene tends to be described as JJJ giving the racists what-for, but the moment is truly Robbie's. (Note that it took Peter getting roughed up for Jameson to take this seriously!) JJJ can yell at Bullit all he likes without consequences, but Robbie is kidnapped and threatened by white supremacists in retaliation. It's Robbie's determination to speak up that eventually puts Bullit out of the running for good.

The Bullit arc isn't there to sort characters by Bad Person and Good Person. Neither Gwen nor JJJ have to personally hate black people for their self-centered sense of safety to be weaponized by a racist agenda. This is a Stan Lee PSA about masked bigotry and how it might appeal to you even if you consider yourself a Good Person.