The 1983 painting "Crucifixion", by Nabil Kanso, employs a perspective that places the viewer behind Christ's cross. In 1987 photographer Andres Serrano created "Piss Christ", a controversial photograph that shows a small plastic crucifix submerged in a glass of the artist's urine, in which Serrano intended to depict sympathetically the abuse of Jesus by his executioners. In the 1990s, Marcus Reichert painted a series of crucifixions, though he did not identify the figure as Christ, but as a representation of human suffering. Other artists have used crucifixion imagery as a form of protest. In 1974, Chris Burden had himself crucified to a Volkswagen. Robert Cenedella painted a crucified Santa Claus as a protest against Christmas commercialization, displayed in the window of New York's Art Students League in December 1997. In August 2000, performance artist Sebastian Horsley had himself crucified without the use of any analgesics. Crucifixion in popular art, as with modern art, is sometimes used for its shock value. For example, a World War I Liberty bond poster by Fernando Amorsolo depicts a German soldier nailing an American soldier, his arms outspread, to the trunk of a tree. Crucifixion imagery is also used to make points in political cartoons. An image of a skinhead being crucified is a popular symbol among the skinhead subculture, and it is used to convey a sense of societal alienation or persecution against the subculture. Crucifixion figures prominently in graphic novels from many cultures throughout the world. In Western comic books, characters in cruciform are seen more often than actual crucifixions. For example, "Animal Man"'s fifth issue earned an Eisner Award nomination in 1989 for its "The Coyote Gospel", the story of Crafty, a thinly-disguised Wile E. Coyote (of the Road Runner cartoons) and the depiction at the culmination of the issue of his dead body in cruciform. Superman, often seen as a Christ figure, has also been crucified, as well as being shown in cruciform. Crucifixions and crucifixes have appeared repeatedly in Japanese manga and anime. In manga iconography, crucifixes serve two purposes: as death symbols, and as symbols of justice. Scholars such as Michael Broderick and Susan J. Napier argue that Japanese readers associate crucifixion imagery with apocalyptic themes, and trace this symbolism to Japanese secular views of the bombings of Hiroshima and Nagasaki, rather than to religious faith.