# Promoting American Ideals through Soft Power in US Comics: The Narrative Shift from Superman's "American Way" to a "Better Tomorrow"

Imane Ghebache

► To cite this version:

Imane Ghebache. Promoting American Ideals through Soft Power in US Comics: The Narrative Shift from Superman's "American Way" to a "Better Tomorrow". Resistance, AFEA (Association française d'études américaines), May 2025, Amiens (Université Picardie Jules Verne, La Citadelle), France. *hal-05098844*

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https://hal.science/hal-05098844v1

Submitted on 5 Jun 2025

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## Summary of the Talk on *Promoting American Ideals through Soft Power: The Narrative Shift from Superman's "American Way" to a "Better Tomorrow"*

This conference paper explores how resistance and ideological narratives are constructed and transformed in *Superman* comics through the evolution of the superhero's motto, from Clark Kent's classic "Truth, Justice, and the American Way" to Jon Kent's contemporary "Truth, Justice, and a Better World." The analysis centers on two pivotal issues: *Action Comics #775: What's So Funny About Truth, Justice and the American Way?* and *Superman: Son of Kal-El*, examining how both narrative content and visual design communicate shifting values and political messages.

The presentation begins by contextualizing Superman as a foundational figure in superhero comics and American popular culture. Created in 1938, Superman has long stood as a symbol of American ideals. However, the way these ideals are framed and transmitted has changed over time, reflecting broader cultural and geopolitical shifts.

### 1. Core Questions and Theoretical Framework

The presentation addresses three central questions:

* What does the change in Superman's motto signify ideologically and politically?

* How is this shift represented narratively and visually?

* How do both versions of Superman articulate different forms of resistance?

To answer these questions, I draw on:

* Joseph Nye's concept of soft power, defined as the ability to shape preferences through attraction rather than coercion. Comics, like other cultural products, serve as vehicles of soft power by promoting specific national values globally.

* Antonio Gramsci's theory of cultural hegemony, which highlights how dominant ideologies gain consent through cultural institutions, shaping public perception as if these values were natural or universal.

Together, Nye and Gramsci provide a framework to understand how Superman comics promote American ideologies, both explicitly and subtly, through heroic narratives that model moral behavior and global responsibility.

### 2. Clark Kent and the Defense of Traditional American Values

In *Action Comics #775*, Clark Kent/Superman faces the Elite, a multinational group of antiheroes who justify the use of lethal force in the name of efficiency and justice. The conflict is not only physical but ideological. Superman resists their moral relativism, emphasizing that true heroism requires restraint, ethical integrity, and non-lethal intervention.

This ideological stance is visually reinforced through:

* Structured, grid-based panel layouts that reflect order, control, and moral clarity.
* Lighting and contrast, which separate Superman from the chaotic, shadowed world of the Elite.

The story ultimately reaffirms “the American Way” as a superior ethical framework, positioning Superman as both a national and moral authority. His actions reflect a form of resistance to global cynicism and violent pragmatism, promoting American exceptionalism through the persuasive mechanisms of soft power.

### 3. Jon Kent and the Expansion of Soft Power

With *Superman: Son of Kal-El*, Jon Kent inherits his father's mantle but redefines his mission. His new motto, “Truth, Justice, and a Better World,” signals a broader, more inclusive agenda. Jon's version of Superman engages with global issues such as:

* Climate change

* Refugee rights

* Police brutality

* LGBTQ+ advocacy

This new Superman does not reject American values but universalizes them, reframing American exceptionalism in humanitarian and progressive terms. The comic's layout mirrors this ideological shift:

* Expansive, borderless panels suggest fluidity, inclusivity, and resistance to rigid national boundaries.

* Jon is often depicted in dialogue with diverse individuals, rather than isolated in ideological opposition, suggesting a collaborative form of cultural diplomacy.

While Jon's activism may seem altruistic and inclusive, the talk cautions against reading it uncritically. His actions still operate within a framework that promotes American values as universally desirable, echoing what Gramsci might describe as a new form of global hegemony, and what Nye would call a more sophisticated use of soft power.

### 4. Resistance in Both Narratives

I conclude by examining how resistance is framed in both narratives:

* Clark Kent resists moral relativism, cultural cynicism, and foreign threats to traditional values. His resistance is conservative and defensive, grounded in maintaining ideological clarity.

* Jon Kent resists isolationism, nationalism, and systemic injustice on a global scale. His resistance is progressive and expansive, aiming to reshape the world by spreading a modernized version of American ideals.
Yet both forms of resistance ultimately serve to uphold and disseminate a dominant ideology. Whether defending it from critique or expanding its reach, Superman continues to function as an agent of cultural influence.

The presentation ends with a critical reflection on *Superman*: is Jon Kent's global, activist Superman a genuine evolution of resistance and soft power, or simply a rebranded version of the same ideological project? In either case, Superman remains a powerful symbol, one who carries not just capes and powers, but also the weight of American cultural identity. Through this lens, comics are revealed to be more than entertainment; they are tools of ideological negotiation, where resistance itself becomes a vehicle for power.

**Works Cited:**

Gramsci, Antonio. *Selections from the Prison Notebooks*. Edited and translated by Quintin Hoare and Geoffrey Nowell Smith, International Publishers, New York, 1971.

Kelly, Joe, writer. *Action Comics* no. 775, DC Comics, New York, Mar. 2001

Taylor, Tom, writer. *Superman: Son of Kal-El* no. 1, DC Comics, Burbank, July 2021.

—. *Superman: Son of Kal-El* no. 2, DC Comics, Burbank, Aug. 2021.

Nye, Joseph S. *Soft Power: The Means to Success in World Politics*. Public Affairs, New York, 2004.

Said, Edward W. *Orientalism*. Vintage Books, New York, 2003.

Siegel, Jerry, writer, and Joe Shuster, artist. *Action Comics* no. 1, DC Comics, New York, June 1938.