Discussion & Reflection

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.

The Shadow Hero engages many Asian stereotypes which include having small eyes, parents having high expectations for their children, being emotionally indifferent and distant, having a good work ethic. Detective Lawful refers to the Chinese gang members as “sneaky, slant-eyed bastards,” which shows the derogatory language people use about Asians when they think they are not around (118). Hua is the typical Asian parent. She sets incredibly high expectations for her son, like becoming a superhero, and pushes her son to pursue her dream even when he doesn’t want to. Like another stereotype, Hua does everything that she can to help her son become a superhero (28-29). The mother also shows her emotional indifference in the beginning of the graphic novel when she tries to avoid being in Chinatown with her husband and son as much as she can (7). The hard working stereotype can be seen in the father as he runs his shop and in Hank as he trains with Uncle Wun Too. Learning to fight reveals another Asian stereotype in which Asians are good fighters, but this story also challenges the stereotype that all Asians know kung fu because Wun Too expresses that he is not teaching him kung fu (32).

This graphic novel challenges many other Asian stereotypes which include submissiveness, intelligence, and cowardice. Many believe that Asian women are submissive, but this novel shows strong female characters with authoritative roles. For example, Hua calls the robber out on eyeing her chest while pointing a gun to her head (13). Asians are said to be smart, intelligent people, but this story shows Hank’s stupidity and thoughtlessness throughout the novel. In media, Asians are not usually portrayed as the hero, but The Shadow Hero redefines that stereotype.

The story about Hank’s father being a successful fighter when drunk is actually based on a well known Chinese legend known as the Drunken Master.

American perception of the Chinese fuels many stereotypes that have become widespread. So common are these stereotypes that one simply begins to assume that they reflect the truth. The popularity of these stereotypes has influenced Chinese authors and illustrators to either play on their absurdity or challenge their validity. In The Shadow Hero by Gene Luen Yang and Sonny Liew, one can see the authors both engaging and challenging stereotypes regarding Asian Americans.

Hank’s mother plays a significant role in the book because she reinforces and challenges many stereotypes that Americans have of Chinese American women. Hank’s mother is depicted as a physically short, judgemental, “mouthy ching-chong”, “AIYA!” saying woman, who agrees to a loveless marriage and ruthlessly forces her son to pursue her ambitions. At the same time, the audience sees Hank’s mother beyond the callous facade that is presented in American stereotypes of Chinese American women. By the end of the book, the audience sees that Hank’s mother cares for him enough to look for him all night and to cheer him on in his endeavors. At the end of the book, Hank’s mother is an understanding, accepting, encouraging and happy woman.

The authors also depict American stereotypes surrounding the Chinese through the physical depiction of other characters in the book and the structure of the criminal underworld dynasty. Take for example the crooked Moe who is shown disguised as a Chinese man with unrealistically bright yellow skin, slanted eyes, crooked teeth, exaggerated arched brows and a long, thin mustache. In all, Moe is presented as one of the “the sneaky slant-eyed bastards” that Detective Lawful explicitly describes. In addition, the Chinese traditions regarding rightful power are shown through the leadership of Ten Grand. Ten Grand refuses to choose a female heir and hosts a fight to find a rightful male heir. When Ten Grand dies and fails to choose a male heir, his daughters take power. However, Red Center and her sisters are shown having trouble leading the criminal empire. The authors show that it is not common in the Chinese tradition for women to take such powerful leadership roles.

After presenting all the stereotypes and traditions, the authors subtly challenge them. The authors show that many of these stereotypes and traditions that many Chinese Americans are bound to can be abandoned for a new start. This becomes clear when the turtle and dragon spirit converse. Dragon, the eldest brother, hangs on to the idea of creating a dynasty and ruling it; meanwhile, turtle, the youngest brother, strives for something new. In the end, turtle triumphs over the dragon. This shows the acceptance of Chinese Americans for new ideas and a new start. More importantly, through the 19-year-old Hank and his role as a Chinese superhero, Yang and Liew break the stereotype that a superhero is a Gwailo (white). Hank succeeds in being a superhero and in protecting his people with the help of the turtle spirit. Together Hank and the spirit represent the new and Americanized generation, unrestricted to stereotypes.

Hank aspired to be like his father, running the store when he gets older. But with his mother overhearing the greatness that comes out of being a superhero, she questions why her own child cannot do the same? Eventually, he does just that, but when he puts on his mask, his identity isn’t the only thing that gets covered. Rather, the evident physical traits of his ethnicity get hidden as well. This opens the door to what people say when they think they aren’t being listened to. This is especially evident with the detective. When he brings an actor playing the role of emperor to his precinct, he is immediately taken as a fool. And to add more wood to the fire, the detective makes it a point to call the enemy “sneaky slanty-eyed bastards.” The detective then realizes the superhero standing before him is of Chinese decent as well and becomes awestruck. Hank, in retaliation, pulls the skin near his eyes back and mocks the detective’s words. By doing so, he informs the detective that what he said was insulting.

This event comes up later in the plot, after Hank apprehends Mock Beak and hands him over to the police. The detective reminisces on what he said in front of Hank. Hank states that what he said isn’t representative of who he is, but the detective counters by saying it is who he is, but not who he wants to be.

In the end, Hank comes to terms with himself as a superhero, striking down the offer that Red, the daughter of the emperor, had approached him with. When he is approached by Anchor of Justice, a physically caucasian superhero, he is asked to join him in recruiting men to fight for his country. Just before Anchor of Justice leaves, he keys Hank in on a secret he’s never told anyone: that he too is not classified as the majority group, and is from somewhere far away as well.