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MHC 10201 Gustavo Interview – Large 540p

The twenty-first century brought many changes to New York City. The inherent character and essence of the city changed at this time as new immigrants and new leaders, as well as new urban developments and issues, came to the forefront.

By the end of the twentieth century, NYC had outdone itself in terms of the range and number of immigrants living there; by the 1990s, immigrants comprised the highest percentage of the city’s population since the early 1900s. As new groups of people came to New York, they “simultaneously challenged and enriched the nation’s most diverse ‘Immigrant City.’”

One immigrant group that had an important impact on New York is Asians. These immigrants, namely Chinese and Korean, worked hard to create a variety of professional establishments to serve their co-ethnics, thereby bringing new vitality to declining neighborhoods. Asians endured the weight of the model minority myth at the same time that they worked and assimilated in the city; stereotypes of Asians as intelligent, driven, and hard-working created an image that many Asian immigrants strived to live up to.

In addition, Latinos came to form one of NYC’s dominant immigrant groups. Before the later half of the twentieth century, Puerto Ricans comprised the dominant Latino group in New York, contributing to the city’s culture through “music, language and strong family traditions.” In the 1960s and 70s, however, this changed as new immigration increased, bringing other Latino groups to the city. Dominicans made up one of these other Latino groups. Despite their differences, Puerto Ricans and Dominicans are both transnational people and have had to deal with being considered too Puerto Rican/Dominican in the America but also too American in Puerto Rico/the Dominican Republic. Dominicans’ citizenship in the U.S. has allowed them to seek local political power through city and state elections. Despite the economically mixed experiences and separate cultural/ethnic identities of Latino immigrant groups, Latinos have found satisfying, sustainable lives in New York and have ultimately created a much more inclusive identity among Latinos from all different countries and cultures.

West Indians comprised another dominant group of immigrants in NYC. Upon coming to the U.S., West Indians had to experience and reassess ideas of race in ways that they did not have to in their countries of birth, where race just wasn’t an issue. West Indians eventually acquired success in business and other professions, and a rift soon formed between West Indians and African Americans. Although West Indians immigrants in New York maintained a strong cultural identity and sense of ethnic pride, their common race inevitably connected them to and united them with African Americans. This interconnectedness of race and identity has contributed to NYC’s face of diversity.

In the 1990s and 2000s, New York’s political leaders demonstrated how “a city is an experiment in the social contract.” Rudolph Giuliani changed the face of New York from liberal to much more conservative and created a lot of social turmoil with his approach to issues of race as well as many other issues. In spite of the contentions caused by Giuliani, many people consider him a great mayor due to the significant lowering of crime rates while he was in office as well as his response to 9/11.

Gene Luen Yang’s The Shadow Hero is about the first Asian-American superhero “The Green Turtle” and his origins. The Green Turtle was a character originally created by Chu F. Hing in the 1940’s, but unfortunately had few fans when the comic was released. Yang brings him back in full force while humanizing him with added social commentary in the context of the time period. The Shadow Hero challenges conventions of classic comic books by introducing a more political context and also by

The book is generally described as a graphic novel, but it is meant to invoke the experience of reading a comic book. It could be either one. Specifically, since it is based on a comic from the 1940’s, it has a classic feel, without modern technology and flashy action graphics. It uses a lot of the same conventions as comic books such as the use of onomatopoeia to illustrate an action (“Blam!” “Pow!”)

However, it also breaks away from these conventions by reading more like a graphic novel: there is heavy focus on telling the story as an biography or memoir. Hank narrates a lot on family, their origins, and less on action and adventure in the plot. Comic books, especially older ones, revolve around fights between heroes and villains and resolving, or working towards resolving a conflict. Characters aren’t always written as well fleshed out people with unique personalities and histories, but in Yang’s book they are. This is what makes the book more like a graphic novel than a comic book to me. In addition, the book discusses socio-political issues of racism and xenophobia against Asians in America, and power and government in China. Although comic books have evolved to be much more sophisticated and intellectual than they used to be, it is still noteworthy to discuss Yang’s explicit messages that would be missing from many other comic books.

Liew’s “The Shadow Hero” challenges and displays various Asian stereotypes throughout the story through its characters and events.

For one, the main idea challenged in the story is the idea that Asian American men are weaker or pejorative in comparison to white men or men of other ethnicities and backgrounds. The main character Hank challenges this stereotype by becoming a super hero and defeating the underground rulers of Chinatown.

The story also challenges the idea that Asian people are less emotional, or at least worse at showing emotion, than other ethnic groups. It is clear that in the story, while Hank’s mother has a rather stoic beginning, she develops a very headstrong and rather funny personality when she tries to force Hank to become a super hero.

Lastly, just the fact that the story’s main characters are Asian challenges the standards for writing and other art forms, in which the typical characters are usually white. Asians are often left to the roles of sidekicks or weak counterparts to the protagonist, and to have a strong asian protagonist exemplifies how The Shadow Hero breaks the traditional mold.

The Shadow Hero both engages and challenges Asian American stereotypes using parental relationships and symbolism. Hua embodies many of the “Asian mother” stereotypes, putting intense pressures and expectations on her son. Hua puts her son through physical pain and emotional stress to become a superhero, like the American “Anchor of Justice.” The superhero theme can be interpreted as education, fitting Hua to the stereotype of the tiger mom. This same theme challenges the stereotype of Asian Americans as naturally intelligent. Becoming a superhero is a seemingly impossible task for Hank, while for the “Anchor of Justice,” rumors suggest it simply happened by forces of nature. Hank suffers a great deal to earn the title of superhero—especially from his mother, who pushed him to become one in the first place—suggesting that assimilating while achieving academically is an arduous undertaking for Asian Americans. The superhero theme works with the parental stereotypes of Asian immigrants on education to demonstrate that Asian Americans assimilate and succeed despite overwhelming obstacles.

The Shadow Hero has a lot of references to Asian American stereotypes. Hank is a typical child of immigrants who follows in his father’s footsteps. He is obedient and studious. His only life goal is to one day own a grocery store just as his father did. This is apparent in many immigrant families who own a business. Asian immigrants have been known to be small business owners throughout the history of their presence in America. Hank’s mother, on the other hand, is bored by this life. She makes an effort to escape Chinatown through her job. After her encounter with the Anchor of Justice she begins to dream about the possibilities for her son. Before this point she had just settled for the minimum her entire life. After being enlightened by this Caucasian superman figure she is inspired to create the same destiny for her son. This determination and strength of character in Asian mothers is a common stereotype. The “Tiger Mom” idea can be applied to this situation but instead of her pressuring her son to study or get a job she wants him to be a superhero. Even though at first her idea seems completely unreasonable it turns out to actually work. He does not just instantly become a superhero like many other stories. He gets it through hard work and dedication. This is a quality in many immigrants. At first no one takes him seriously because he is Chinese. Even his own kind are surprised to see a Chinese superhero but he eventually proves them wrong. Both Hank and his Mother are not your typical Asian Americans. They both challenge the norm in order to do something that they want.

The shadow hero tells the story of a nonstandard superhero in a nonstandard way. It is, in many ways, a love letter to the golden age of comic books, in the 1930s and 1940s. however, it also comments on several elements of this genre, and the society and times in which it flourished.

In the first place, the book comments on the lack of superheroes belonging to ethnic minorities, specifically Asian ones. Perhaps unsurprisingly, there were no Asian superheroes early on in the genre. Though I don’t read comic books very often, I do know that this shortage has survived to our times, at least within Marvel’s hugely successful cinematic universe. though there is one quasi hero character, Tadanobu Asano’s Hogun, he is definitely a bit player, with almost no screen time. In any case, The Shadow hero comments on this issue by presenting the reimagined backstory to a very minor character who may or may not have been the world’s first Asian super hero. In the book, he often experiences prejudice, including surprise that there could even be such a thing. Even sympathetic characters such as Detective Lawful express racist attitudes. Green Turtle seems very far from the more traditionally Anglo Anchor of Justice. However, the author brilliantly points out the duality there as well. The Anchor is a clear stand in for arguably the most American superhero of all time, Superman, who, lest we forget, is an alien. However, since he appears to be a white human, he is considered as such. The Anchor, on the other hand, reveals himself to be a rather frightening looking alien in a human suit. This implies that, without his mask, he would not be generally accepted either.

There are several other variations on the superhero myth on display in this book. One example is the self involvement of Hank’s mother in his superhero career. Many superhero origin stories involve parents, but they usually don’t take active part. The hero usually takes up the mantel him or herself. However, Hank’s mother drives her son’s training, and even attempts to give him superpowers through dangerous processes similar to those of traditional heroes. She wants this life for her son because she feels it will give him a leg up in America, not because she particularly cares about justice.

Gene Luen Yang’s The Shadow Hero, illustrated by Sonny Liew, fluctuates heavily between epitomizing and surpassing preconceived stereotypes about Asian-Americans. Throughout the beginning of the comic, the Chus are painted as the normal, archetypal Chinese family; they own their own convenience store and the marriage between Hua Chu and Hank’s father is one that is arranged and, for the most part, loveless. Furthermore, Detective Lawful’s characterization of the Chinese as “sneaky, slant-eyed bastards” (118) only goes to reinforce how other races define Asian-American archetypes. Additionally, the criminal Ten Grand emphasizes the notion of the submissive nature of Asian-American women when he refuses to select one of his daughters to become the next heir to his empire, instead choosing to select one through means of combat.

However, Yang pushes to move past such labels in his depiction of protagonist Hank Chu and his mother. Initially, Hank is seen as only following in the footsteps of his father, which is to run the family business in a monotonous future. This future changes when Hua Chu is saved from death by the hands of the Anchor of Justice (a Caucasian superhero) and consequentially becomes obsessed with training Hank to become a hero modeled after her savior. Hua Chu’s personality becomes more aggressive, but in a way that motivates her son to do the right thing and fight for the wellbeing of the greater good. She raises Hank to another level of heroism, something that is not seen in typical Western culture. Hank is defiant, strong (both physically and mentally), and is able to fend for himself and for those who cannot protect themselves. In this way, Hank moves past the standards placed upon him by Western culture and evolves into a champion of the Chinese spirit. During the convergence between the dragon and turtle spirits, Hank allows himself to become the leader that his community needs and is willing to fight against crime in a way that isn’t secondary to a main hero. He isn’t a sidekick; Hank stands front in center of the battle against criminals and asserts himself as a force to be reckoned with.

The Shadow Hero serves primarily as a reminder of how Asian-Americans are traditionally seen by society but also strives to redefine what being Asian-American means. Yang understands that some stereotypes are rooted in some form of truth, but allows audiences to see examples of Asian-Americans outside of these boxes. Hank Chu is a physical manifestation of what Asian-Americans, and in fact, what some Asian-Americans are. Hank’s resilience in training and fighting crime supports the stereotype of Asian-Americans of being hardworking, but also transforms that label to not just include intelligence or academics, but athleticism and morale as well. Hua Chu’s hot headedness is derived from the “nagging and overbearing” stereotype of the Asian-American mother, but is evolved to include the emotional capacity and range that she has for her son’s success and safety. It is in these extensions that Yang chooses to recreate certain stereotypes into something that Asian-Americans can be proud to identify with.

Gene Luen Yang and Sonny Liew’s The Shadow Hero features the backstory of the Asian American superhero, the Green Turtle. Hank, a typical 19-year old, becomes Chinatown’s own superhero after assuming the turtle spirit that once inhabited his father. Through the personalities of Hank, his mother, and other supporting characters, The Shadow Hero challenges Asian stereotypes while still being an entertaining and well-drawn comic.

Hank defies various Asian stereotypes. Asian men are typically seen as being weak, which goes along with the “hardworking nerd” stereotype that is so commonly associated with Asians, both male and female. Hank, however, is built and muscular, and his physical abilities are what make him so successful in fights – aside from his bulletproof skin. There is also no mention of schoolwork throughout the comic; Hank is portrayed as a normal teenager without the expectation of school being his top priority in his life.

The female characters in The Shadow Hero also challenge Asian female stereotypes of being quiet and subservient. By contrast, women in the comic are portrayed as self-sufficient and strong. Hank’s mother is extremely independent: she has her own job, doesn’t listen to her husband (or even her boss sometimes), and is always ready to take matters into her own hands should family situations go awry. The daughters of Ten Grand are also independent, and when necessary, can be lethal. In the beginning of the comic, the daughter in the red dress ends up saving Hank in addition to protecting herself from street predators. The daughters of Ten Grand are well-trained in fighting, and are by no means vulnerable or subservient.

The Shadow Hero successfully portrays Asians in a non-stereotypical and respectful manner. Hank’s family is an ordinary American family, and Chinese culture is never made shown in a judgmental light. Asian characters are also not drawn in a caricature-like way, which is especially noticeable once compared with the style in which Asians were portrayed in the original comic The Green Turtle. Sonny Liew does not draw overly slanted eyes or extremely yellow skin, yet readers can still differentiate between Asian and non-Asian characters. The Shadow Hero also mentions racism against Asians, an issue that is often overlooked in society. When the detective calls Asians “sneaky, slant-eyed bastards,” readers are taken aback by his words and his surprise that an Asian like Hank could actually be a successful superhero. Stereotypes in The Shadow Hero are often not present, a lack that speaks volumes on the reality behind the inherent racism of racial stereotypes.