Why do heroes fight each other? Why do villains keep trying even though they almost never win? Why don't heroes simply take over the world? Economics and comics may seem to be a world apart. But in the hands of economics professor and comic book hero aficionado Brian O’Roark, the two form a powerful alliance. With brilliant deadpan enthusiasm he shows how the travails of superheroes can explain the building blocks of economics, and how economics explains the mysteries of superhero behavior. Spider-Man's existential doubts revolve around opportunity costs; Wonder Woman doesn't have a sidekick because she has a comparative advantage; game theory sheds light on the battle between Captain America and Iron Man; the Joker keeps committing crimes because of the Peltzman effect; and utility curves help us decide who is the greatest superhero of all. Why Superman Doesn't Take Over the World probes the motivations of our favorite heroes, and reveals that the characters in the comics may have powers we dont, but they are still beholden to the laws of economics.

At first sight, superheroes and economics seem to occupy completely different dimensions – but a clash of dimensions is a classic comic book storyline! In this first-of-its kind book, an economist and a business writer assemble an A-team of academic talent to explore the intersection of superhero mythology and economic theory in ten accessible chapters. Superheroes and Economics uncovers basic economic truths that are integral to the comic stories from some of the genres most famous names. The authors of the chapters look at ways that economic principles can add authenticity to imagined universes, and how familiar superhero stories can demonstrate concepts used by economists to forecast the behavior of markets and individuals. If Spider-Man is so smart, why isn’t he rich? What are the economic implications of a tech entrepreneur like Tony Stark actually inventing Iron Man armor? What does the 80-year career of Wonder Woman tell us about the evolving role of women in the workplace? This unique book extends the scope of comics studies to encompass social sciences. It offers a great way to introduce both fans and students to topics like opportunity cost, growth, inflation, and cost benefit analysis, as well as more advanced concepts like moral hazard, utility functions and economic growth. This text can be used to supplement economics courses using colorful examples that any pop culture fan can relate to.

Movies showcasing Batman, Superman and Spiderman have brought in billions of dollars at the global box office and the popularity of superheroes shows no signs of wavering. But underneath the capes and masks of our favourite characters runs a fascinating world of economic decisions, strategies and incentives.

Contributions by Phil Bevin, Blair Davis, Marc DiPaolo, Michele Fazio, James Gifford, Kelly Kanayama, Orion Ussner Kidder, Christina M. Knopf, Kevin Michael Scott, Andrew Alan Smith, and Terrence R. Wandtke In comic books, superhero stories often depict working-class characters who struggle to make ends meet, lead fulfilling lives, and remain faithful to themselves and their own personal code of ethics. Working-Class Comic Book Heroes: Class Conflict and Populist Politics in Comics examines working-class superheroes and other protagonists who populate heroic narratives in serialized comic books. Essayists analyze and deconstruct these figures, viewing their roles as fictional stand-ins for real-world blue-collar characters. Informed by new working-class studies, the book also discusses how often working-class writers and artists created these characters. Notably Jack Kirby, a working-class Jewish artist, created several of the most recognizable working-class superheroes, including Captain America and the Thing. Contributors weigh industry histories and marketing concerns as well as the fan community's changing attitudes towards class signifiers in superhero adventures. The often financially strapped Spider-Man proves to be a touchstone figure in many of these essays. Grant Morrison's Superman, Marvel's Shamrock, Alan Moore and David Lloyd's V for Vendetta, and The Walking Dead receive thoughtful treatment. While there have been many scholarly works concerned with issues of race and gender in comics, this book stands as the first to deal explicitly with issues of class, cultural capital, and economics as its main themes.

It's easy to name a superhero--Superman, Batman, Thor, Spiderman, the Green Lantern, Buffy the Vampire Slayer, Rorschach, Wolverine--but it's not so easy to define what a superhero is. Buffy has superpowers, but she doesn't have a costume. Batman has a costume, but doesn't have superpowers. What is the role of power and superpower? And what are supervillains and why do we need them? In What is a Superhero?, psychologist Robin Rosenberg and comics scholar Peter Coogan explore this question from a variety of viewpoints, bringing together contributions from nineteen comic book experts--including both scholars in such fields as cultural studies, art, and psychology as well as leading comic book writers and editors. What emerges is a kaleidoscopic portrait of this most popular of pop-culture figures. Writer Jeph Loeb, for instance, sees the desire to make the world a better place as the driving force of the superhero. Jennifer K. Stuller argues that the female superhero inspires women to stand up, be strong, support others, and most important, to believe in themselves. More darkly, A. David Lewis sees the indestructible superhero as the ultimate embodiment of the American "denial of death," while writer Danny Fingeroth sees superheroes as embodying the best aspects of humankind, acting with a nobility of purpose that inspires us. Interestingly, Fingeroth also expands the definition of superhero so that it would include characters like John McClane of the Die Hard movies: "Once they dodge ridiculous quantities of machine gun bullets they're superheroes, cape or no cape." From summer blockbusters to best-selling graphic novels, the superhero is an integral part of our culture. What is a Superhero? not only illuminates this pop-culture figure, but also sheds much light on the fantasies and beliefs of the American people.

A history of comic books from the 1930s to 9/11.

The first look at the philosophy behind the Captain America comics and movies, publishing in advance of the movie release of Captain America: The Winter Solider in April 2014. In The Virtues of Captain America, philosopher and long-time comics fan Mark D. White argues that the core principles, compassion, and judgment exhibited by the 1940’s comic book character Captain America remain relevant to the modern world. Simply put, "Cap" embodies many of the classical virtues that have been important to us since the days of the ancient Greeks: honesty, courage, loyalty, perseverance, and, perhaps most importantly, honor. Full of entertaining examples from more than 50 years of comic books, White offers some serious philosophical discussions of everyone’s favorite patriot in a light-hearted and accessible way. Presents serious arguments on the virtues of Captain America while being written in a light-hearted and often humorous tone Introduces basic concepts in moral and political philosophy to the general reader Utilizes examples from 50 years of comics featuring Captain America, the Avengers, and other Marvel superheroes Affirms the value of "old-fashioned" virtues for the modern world without indulging in nostalgia for times long passed Reveals the importance of the sound principles that America was founded upon Publishing in advance of Captain America: The Winter Soldier out in April 2014.