In his May 30 WND video, Mitchell declared:
In 1938, Action Comics stunned readers with something truly extraordinary, a spandex-clad character named Superman. And with the release of that 10-cent magazine, the mighty man from Krypton introduced one of the greatest art forms the world would ever know, the comic book. Like motion pictures and baseball, the comic book was invented right here in the good ol' U.S. of A., and we still remain the number-one producer of comic books to this day.
Actually, if Wikipedia is to be believed, the first comic book appeared in the United States in 1933. Wikipedia also states that Japanese comics, known as manga, "has many more followers and dwarfs American comics in readership."
Mitchell then asked, "So what have been comic books been saying about our culture since Obama came to power?" His answer:
Well, first off, Obama's rise from '07 to '08 ran right along side one of the most tragic storylines in all of comic book history, and that would be the death of Captain America. Since comic books are an American invention, and because Captain America is the single greatest mosaic, the greatest symbol of American values and patriotism, this is no coincidence.
Astually, the "death" of Captain America, aka Steve Rogers, took place in the very first issue of the 18-issue story arc, which came out in April 2007. in the 2009 series Captain America: Reborn, we learn that Rogers ... did not die! Nevertheless, Mitchell insists later in his video that "Captain America is dead."
Mitchell added: "It's also no coincidence that only halfway through Obama's administration, the other great symbol of American patriotism, that would be Superman, renounced his U.S. citizenship."
For a less conspiratorial view, here's what a Comics Alliance writer noted at the time:
The number one misunderstanding that pundits have had about this story is that it represents an insult to or rejection of America and its values, not as a decision to step back from American politics and foreign policy, as Superman more clearly indicates in the comic. Some of you may remember when Captain America stepped back from his patriotic identity in the '70s after becoming disillusioned with the country; that is distinctly not what is happening here. There is no disillusionment, no repudiation of "The American Way" -- a phrase, by the way, that was not initially associated with Superman, and only appeared after America became involved in World War II.
It's also worth noting that while Superman may be symbolically renouncing his national identity, Clark Kent is another matter entirely, and there's absolutely no reason to think that the Daily Planet reporter's citizenship will change in any way. One of the most fundamental tropes of superheroes is the concept that they have a civilian identity, and when they step into their superhero role, they conceal aspects of that personal identity in order to protect themselves and the people around them from the repercussions of their superheroic actions. In a sense, this is exactly what Superman is doing: removing his American identity from his "professional" identity because he is unwilling to compromise U.S. foreign policy or jeopardize the safety of the American people.
And it wouldn't be ol' Molotov unless he was freaking out about teh ghey:
And most recently, following on the heels of Barack Obama's newly discovered passion for gay marriage, Marvel Comics will make comic book history with the first gay superhero wedding. When asked why they would pen a gay wedding into comics, Marvel scribes said they were merely reflecting current events. They explained most of Marvel's superheroes live in New York, and since New York allows gay marriage, well, they thought it would be appropriate. They thought it would be relevant.
Now, as much as I hate to admit it, they're totally right. If most of their characters were from New Jersey or North Carolina, you couldn't have sch aplotline. It wouldn't an accurate reflection of current events.
As a reader noted in the comments, the first gay wedding in comics was between Apollo and the Midnighter, in the DC-published comic "The Authority" in 2002. (Mitchell responded in the comments that this "was so obscure, so fringe that it was irrelevant.")
Mitchell concluded by whining that superheroes are now fighting bullying and homophobia (cutting a little close to the bone there, Molotov?), adding "Panel by painful panel, comics have not only reflected the death of Captain America, but the death of America itself. This is the zeitgeist. This is the America Obama has wrought."
Meanwhile, Molotov Mitchell is simply overwrought.