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$$War. We unpack the political fury, superhero deconstruction, and lasting relevance of this overlooked gem from the Bush-era boom in gritty, socially charged comics. #MenOfSteelPod #Cla$$War #RobWilliams #SupermanAdjacent #JesseFresco #ComicsPodcast   Support us on Patreon! patreon.com/CertainPOVMedia   Men of Steel Full Episode Originally aired: August 15, 2025 Edited by Sophia Ricciardi Scored by Geoff Moonen   Certain Point Of View is a podcast network brining you all sorts of nerdy goodness! From Star Wars role playing, to Disney day dreaming, to video game love, we've got the show for you!   Learn more on our website: https://www.certainpov.com Join us on Discord: https://discord.gg/wcHHer4   Overview

• 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.
• Writer Rob Williams influenced by Bill Hicks and Marvel's Miracle Man, blending humor with serious themes of government superhero programs.
• Characters feature a Superman-like hero and an Enola Gay team reflecting various archetypes, but backstory is minimal focusing more on action.
• The commentary emphasizes American superheroes as 'deterrents' entangled in corruption and drug operations rather than showcasing true class conflict.
• Artwork utilized innovative computer coloring for the early 2000s, with notable scenes praised for their intensity and execution.
• The series is linked to broader cultural events, including the Patriot Act and militarized entertainment, creating a lasting impact on the genre.
• Story arcs reveal escalating tensions, ending ambiguously without showing direct conflict or resolution in the finale.
• Hosts reflect on the comic's themes feeling 'adolescent' today, yet resonate with current events like rising political tensions and violence.
• Class War recommended alongside classics like The Authority and Superman/Batman: Public Enemies, highlighted for its unfinished nature and mystique.
• 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'.
• Jesse Fresco returns after Jaguar Sharks podcast ended in January, currently working on a novel after crossing 200 pages.
• Class War intended as 12-issue series but only 6 issues published - first 3 in 2002, final 3 in 2004 by Com X publisher.
• 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.
• Received major attention from Wizard magazine and early comic websites despite being small indie publication.
• Writer Rob Williams heavily influenced by comedian Bill Hicks, directly copying Kennedy assassination joke in comic.
• 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'.
• Minimal backstory provided beyond brief flashback showing protagonist's brother died of heroin overdose.
• 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.
• Despite title 'Class War,' actual class conflict rarely shown - more focused on government corruption than economic inequality.
• 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.
• Heavyweight vs American battle particularly praised, featuring brutal jaw-punching scene later parodied by Garth Ennis.
• 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.
• Influenced Garth Ennis's The Boys, Warren Ellis's Black Summer, and Mark Millar's War Heroes.
• 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.
• Series ends with American and Isaac preparing for civil war, never showing actual conflict or resolution.
• 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.
• Hosts discuss how recent events (CEO shooting, political tensions) make comic's themes more relevant.
• 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.
• Better remembered as unfinished work with mystique than potentially disappointing completion.
• Plugs for CPOV Media Patreon, Movie Struck podcast, and Discord community.