The Comics Cavalcade.

But he misses the cosmic camp quality and general trippiness of Marvel's comics and how they were adjusting to the prevailing anti-war, pro-civil-rights sentiments of its student fan base, including an African American superhero with the Black Panther. The Fantastic Four and the characters that followed, like Spider-Man and the Hulk, revived the 1940s superhero, but with a difference: Marvel's superheroes lived in an approximation of the real world and exhibited quasi-naturalistic psychologies. By the late 1990s, in fact, superheroes appeared to be taking over the movies: As in the middle decades of the 20th century, our new superhero spectacles became the mask we wear in front of the mirror, but also in front of the rest of the world. Superheroes were now passé: "After Hiroshima and Nagasaki", Hirsch notes, "it was no longer so simple to pull readers into a system populated by kind heroes, accommodating police officers, and right-thinking governments.". [Extracted from the article]