Notes

It must be acknowledged that mainstream superhero comics like works in the Batman franchise are not actively interested in participatory culture, and their intellectual property structure exists because of publishers’ desires for commercial gain rather than an investment in the ecstasy of influence. But the end result is an industry that produces works enjoyed by the kinds of readers who thrive in a culture of participation. In that respect, superhero comic book publishing companies can act as an example for businesses and other social institutions whose models of operation suffer in our growing culture of participation. For Jenkins, the stakes are higher than simple enjoyment of popular media. He claims that ‘now, we are mostly using this collective power through our recreational life, but soon we will be deploying those skills for more “serious” purposes,’ and he explores how ‘collective meaning-making within popular culture is starting to change the ways religion, education, law, politics, advertising, and even the military operate’ (Jenkins 2006, p. 2). Perhaps the intellectual property infrastructure that has led to the creation of mainstream superhero comic books that embrace the ecstasy of influence will help fuel the growing trend of consumers taking a more active role in the very production of knowledge.