20 世纪 30 年代的美国经历着经济、文化的转型，处于经济萧条和战争阴影之中，美国民众心理普遍处于一种创伤心态。“在两次世界大战之间的二十年中，美国人在国内经历了感情上的大起大落，即从过于自信的乐观精神过渡到谦卑的悲观态度。二十年代的美国生气勃勃，热情奔放，无所畏惧，坚信商业的独创性可以点石成金。在三十年代，这种生气已云消雾散，人们惊恐地看到，商人的所谓‘点金术’结果只不过是巫师的徒弟搞的又一场灾难性的试验。这二十年颇似坐在大型有轨滑坡车里滑行，上坡时，人们欢声笑语，无忧无虑，希望前面的路程更令人激奋。但一九二九年以后的下坡路却格外陡峭、漫长，背信弃义地把人们的希冀化为一场令人作呕的空想。”一个如过山车般急促下降的时代，人们需要更多的心灵支撑和情感慰藉，传统的英雄已无法满足美国民众内心强大的心理需求，他们渴望一个救世主类型的、强大到超越现实的限制和压力的英雄腾空而出，实现一种理想主义的救赎。人们在内心呼吁一个新的英雄形象：和以往的英雄不一样，更能鼓舞此刻美国民众、给予精神支持的力量。此时，美国漫画的黄金时代来临，而漫画黄金时代来临的标志正是首个“超级英雄”的诞生。
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in 1930s, the us had under gone through the transformation of economy and culture. The people, set in the background of economical recession and war threat, generally had psychic traumas. They experienced the sharp drop in spirit, from confident optimism to inferior pessimism, during the world war 1 and 2. in 1920s, it was a vigirous,energetic and dauntless and had a firm belief in business that creativity was everthing. it was like the roller coaster rushing from the highest, when people laughed, had no fear about future and were with a hope for a more brilliant future. In contrast, when the roller coaster was going downwards, it seemed extraordinarily precipitous, long and treacherous that all dreams shattered, which was disgusting to everyone. In that time, which was charactised like a roller coaster running sharply from the highest to the lowest, people needed spiritual support and emotional solace. The traditional hero was no longer able to support and solace the people who had urgent desire for being strong. what they need was exactly something like the Redeeme, with a super power without any being fettered by the real world, to rescue them. they called for a new hero, different from before, that could encourage and support them in spirit. Thus, the best years of cartoon came, of which the symbol was the birth of super hero.
