This week on Men of Steel, Case and Jmike are joined by writer and critic Jesse Fresco to dig into the early 2000s series Cla$$War. We unpack the political fury, superhero deconstruction, and lasting relevance of this overlooked gem from the Bush-era boom in gritty, socially charged comics.
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Men of Steel Full Episode
Originally aired: August 15, 2025
Edited by Sophia Ricciardi
Scored by Geoff Moonen
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Overview
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Class War comic serves as a political commentary on post-9/11 America, initially conceived as a 12-issue series but only 6 issues were published between 2002 and 2004.
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Writer Rob Williams influenced by Bill Hicks and Marvel's Miracle Man, blending humor with serious themes of government superhero programs.
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Characters feature a Superman-like hero and an Enola Gay team reflecting various archetypes, but backstory is minimal focusing more on action.
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The commentary emphasizes American superheroes as 'deterrents' entangled in corruption and drug operations rather than showcasing true class conflict.
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Artwork utilized innovative computer coloring for the early 2000s, with notable scenes praised for their intensity and execution.
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The series is linked to broader cultural events, including the Patriot Act and militarized entertainment, creating a lasting impact on the genre.
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Story arcs reveal escalating tensions, ending ambiguously without showing direct conflict or resolution in the finale.
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Hosts reflect on the comic's themes feeling 'adolescent' today, yet resonate with current events like rising political tensions and violence.
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Class War recommended alongside classics like The Authority and Superman/Batman: Public Enemies, highlighted for its unfinished nature and mystique.
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The discussion underscores a shift in superhero portrayals, questioning the effectiveness of traditional heroes in the current socio-political landscape.
Notes
️ Introduction and Setup (00:00 - 09:36) -
Discussion of Class War comic as political commentary on post-9/11 America, described as 'what if Superman was pissed off about 9/11'.
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Jesse Fresco returns after Jaguar Sharks podcast ended in January, currently working on a novel after crossing 200 pages.
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Class War intended as 12-issue series but only 6 issues published - first 3 in 2002, final 3 in 2004 by Com X publisher.
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Notable art style change between Trevor Harrison (issues 1-3) and Travel Foreman (issues 4-6), both considered high quality for indie publication.
Historical Context and Influences (09:36 - 18:49) -
Comic written before 9/11 but published after, coincidentally capturing post-9/11 American sentiment perfectly.
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Received major attention from Wizard magazine and early comic websites despite being small indie publication.
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Writer Rob Williams heavily influenced by comedian Bill Hicks, directly copying Kennedy assassination joke in comic.
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Williams cited Marvel Man/Miracle Man as major influence, both featuring government superhero programs with Nazi scientist connections.
️ Character Analysis and Comic Structure (18:49 - 27:56) -
Superman-type character design with mostly white bodysuit, blue stripe, and star pattern - described as 'patriotic Apollo'.
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Minimal backstory provided beyond brief flashback showing protagonist's brother died of heroin overdose.
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Enola Gay superhero team includes The American, Heavyweight (Luke Cage-type), Icon (Wonder Woman analog), and Confusion (psychic character).
️ Political Commentary and Themes (27:56 - 38:02) -
Reveals American superheroes used as 'deterrents' rather than weapons, involved in drug trafficking operations.
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Despite title 'Class War,' actual class conflict rarely shown - more focused on government corruption than economic inequality.
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Problematic portrayal of Black character written by British creators, described as 'Mike Tyson as super soldier'.
Art and Production Quality (38:02 - 48:12) -
Utilized cutting-edge computer coloring and gradients that were revolutionary for early 2000s comics.
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Heavyweight vs American battle particularly praised, featuring brutal jaw-punching scene later parodied by Garth Ennis.
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Com X publisher folded after initial run, Image Comics later acquired reprint rights.
Cultural Impact and Comparisons (48:12 - 58:18) -
Frequently compared to Warren Ellis's Authority series despite Williams claiming unfamiliarity.
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Influenced Garth Ennis's The Boys, Warren Ellis's Black Summer, and Mark Millar's War Heroes.
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Part of broader cultural shift including 'freedom fries,' Patriot Act, and militarized entertainment.
Story Structure Analysis (58:19 - 01:08:43) -
Issue 1 - Superman burns 'LIAR' into President's forehead; Issue 2 - Heavyweight fight; Issue 3 - Bridge episode; Issues 4-6 - Government conspiracy revelation.
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Series ends with American and Isaac preparing for civil war, never showing actual conflict or resolution.
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Heavyweight confirmed killed by shield weapon, Jefferson transforms into monster.
️ Modern Relevance Discussion (01:08:44 - 01:18:51) -
Comic feels 'adolescent' and 'naive' when read today, but captured appropriate anger for its time.
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Hosts discuss how recent events (CEO shooting, political tensions) make comic's themes more relevant.
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Question whether Superman-type heroes work in current political climate versus Punisher-style vigilantes.
Conclusion and Recommendations (01:18:52 - 01:25:43) -
Recommended alongside The Authority, Garth Ennis's 303, and Superman/Batman: Public Enemies.
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Better remembered as unfinished work with mystique than potentially disappointing completion.
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Plugs for CPOV Media Patreon, Movie Struck podcast, and Discord community.
