Overall, Supergods presents an interesting, in-depth look at how cultural forces such as the Great Depression, World War II, the hippie movement, and the September 11th terrorist attacks have influenced the creation, marketing, and adventures of superheroes. The discussion of specific artistic styles and techniques is illuminating, especially when the author Grant Morrison analyzes particular comic book covers that are reprinted in the book. Students of pop culture, philosophy, psychology, and theology will also enjoy this close look at superheroes, who are presented as gods of a secular modern religion.

Halfway through the book, however, the author starts telling the story of his own life and his career as a comic book artist, an unexpected development that detracts from the book’s focus on superheroes. Mr. Morrison’s writing also contains the contradictory message that comic books are a worthy art form which is appropriate for all, while also saying that people who still enjoy comic books as adults are unsophisticated and socially awkward. Indeed, his barely contained vitriol against adult fans of comic books is offensive even to me, despite the fact that my personal knowledge of superheroes comes not from comic books but from more mainstream sources: blockbuster movies like X-Men, Spiderman, and The Dark Knight, as well as TV shows like Lois and Clark. A reasoned discussion with scholarly arguments about comic books’ age-appropriateness would have been more interesting for parents, teachers, and librarians, who are often conflicted about the superhero comics genre. In short, Supergods offers a disappointing conclusion to what is otherwise an appealing book about the need for people of all ages to imagine something bigger and better than themselves.