Wynn’s Barber Shop
Wynn ran a small, organized barber shop with just one chair, located in a business area off Route 222. My mom would often take me and my two younger brothers along, which meant waiting our turn. But honestly, I didn’t mind that much.
Like Wynn, who was always in a crisp lab coat and had his hair slicked back with Brylcreem, I had my own little ritual for the trips to the shop every other month. I’d settle into one of the plastic-covered chairs and dive into the escapades of Archie Andrews and the other Riverdale High characters.
In the 1970s, while evangelical Christianity wasn’t the reigning cultural force, it still held a place in society.
Normally, I would prefer to read more serious comics like “Batman” or “Daredevil”—even the occasional “Sgt. Locke” if Spinnerack was particularly appealing. But Wynn’s waiting area was stocked with nothing but Archie Comics.
The Riverdale Revival
There’s something about watching “The Notebook” at cruising altitude that can bring tears to even the most stoic viewer. Similarly, the environment at Wynn’s—with its faux wood paneling, the scent of Barbicide, and soft “easy listening” music—made me feel oddly vulnerable. I found myself absorbed in the charmingly predictable teenage antics.
Then one day, I stumbled upon what I believed to be an issue with one of the comics. The cover of “Archie’s One-Way” showed Archie and his friends in an old car, hilariously overheating and leaking fluid, as a police officer reprimanded them for ignoring a clear traffic sign: “Do you know this is a one-way street?”
Pretty standard Archie scenario. But instead of the usual banter from Reggie or Jughead, I saw Betty in the backseat, arms raised in excitement, exclaiming, “This is cool! The cops are against Archie!”
A bit of a letdown.
Strange Changes
I opened the comic with a sense of mounting dread, as if I were the last person standing in a horror movie. The illustrations, text, and vibrant colors were just like I remembered, but somehow, without me noticing, the wholesome teenagers I adored had morphed into versions reminiscent of evangelical Christians.
I stumbled upon one series published by Spire Christian Comics, which ran from 1973 to 1982.
The initiative came from Archie’s long-time artist, Al Hartley. After experiencing a religious rebirth in 1967, he thought it would be a splendid idea to spread the gospel through comics. John Goldwater, who co-created Archie and was Jewish, supposedly agreed.
Despite the regular Archie comics continuing as usual, these Christian-focused stories found their niche in Christian bookstores and churches. However, as I and some unsuspecting readers can attest, they often made their way into the broader market.
Relatedly, I often mused about a metaphorical “night of the gun” ending only when one fully embraced faith.
The Messages Embedded
The messaging was unmistakable. In the same comic, the gang finds themselves in a reimagined version of Riverdale set in Times Square, dismayed by promotions for films like “Divorce Any Style” and “Crime Pays.”
Additionally, there’s a scene where Betty helps an injured classmate who had strayed into the drug world accept Christ after a car accident.
It’s strange to think of Archie Comics intertwining with Jack Chick’s ideology. Yet, even stranger is the fact that the recent TV adaptation “Riverdale” has taken this simple town and turned it into a hub of drama and intrigue.
What’s particularly odd is how Archie’s spiritual twist didn’t cause public uproar. Back then, before the internet, outrage was harder to generate. Most individuals outside of those who read Spire were oblivious to the comics’ existence.
But I think there’s something deeper at play.
Cultural Shifts
Author Aaron Wren describes American society’s shift from a “positive world,” where Christianity enjoyed social acceptance, to a “neutral world.” Here, being openly Christian can negatively impact one’s public image. No matter how you cut it, Archie and Spire’s endeavors clearly belong to a bygone time.
In the 1970s, evangelical Christianity might not have been the dominant cultural force, but it was still generally accepted. Much like how liberal Democrat Jimmy Carter could discuss committing adultery “in his mind” and still be elected, mainstream publishers felt comfortable depicting their beloved teenagers in prayer without fearing backlash.
This trend wasn’t limited to Riverdale or Protestantism. In the 1980s, Marvel produced comic biographies of figures like Pope John Paul II and Mother Teresa.
By the early ’90s, Marvel initiated a collaboration with Christian publisher Thomas Nelson to create superhero stories based on biblical themes—like the Illuminator, who had supposed divine powers and was inspired by classics like “The Pilgrim’s Progress.” Sadly, this venture lasted only two years.
The Forgotten Initiatives
In 2000, Stan Lee approached an Episcopal priest, Peter Wallace, to brainstorm comics based on a “biblical worldview” for an online platform. In a more recent article, Wallace shared his vision:
This will promote faith in God, exemplify Christ’s life, and underscore the reality of moral conflicts. Our tales, while consistent with Scriptures, are not dogmatic. The ambition is to awaken the hearts of the youth and inspire a strong sense of faith without being overly preachy.
This initiative faded when the start-up failed along with many others from that era.
Fast forward to 2023, Archie Comics introduced its first transgender character, more than a decade post-Riverdale, alongside its first gay student scene. The series’ evolution—inclusivity—is probably a natural progression, mirroring larger societal conversations surrounding representation and, loosely, “woke” themes.
Throughout its 85-year journey, Archie Andrews has witnessed countless trends, from jitterbug to acid rock to even cryptocurrencies. As we observe what might be the peak of the current cultural awakening, one wonders if this iconic, eternally youthful character might also get swept into the religious revival taking place among younger generations.
