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John Holbo - Editor
Scott Eric Kaufman - Editor
Aaron Bady
Adam Roberts
Amardeep Singh
Andrew Seal
Bill Benzon
Daniel Green
Jonathan Goodwin
Joseph Kugelmass
Lawrence LaRiviere White
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Miriam Burstein
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Past Valve Book Events

cover of the book Theory's Empire

Event Archive

cover of the book The Literary Wittgenstein

Event Archive

cover of the book Graphs, Maps, Trees

Event Archive

cover of the book How Novels Think

Event Archive

cover of the book The Trouble With Diversity

Event Archive

cover of the book What's Liberal About the Liberal Arts?

Event Archive

cover of the book The Novel of Purpose

Event Archive

The Valve - Closed For Renovation

Happy Trails to You

What’s an Encyclopedia These Days?

Encyclopedia Britannica to Shut Down Print Operations

Intimate Enemies: What’s Opera, Doc?

Alphonso Lingis talks of various things, cameras and photos among them

Feynmann, John von Neumann, and Mental Models

Support Michael Sporn’s Film about Edgar Allen Poe

Philosophy, Ontics or Toothpaste for the Mind

Nazi Rules for Regulating Funk ‘n Freedom

The Early History of Modern Computing: A Brief Chronology

Computing Encounters Being, an Addendum

On the Origin of Objects (towards a philosophy of computation)

Symposium on Graeber’s Debt

The Nightmare of Digital Film Preservation

Richard Petti on Occupy Wall Street: America HAS a Ruling Class

Bill Benzon on Whatwhatwhatwhatwhatwhatwhat?

Nick J. on The Valve - Closed For Renovation

Bill Benzon on Encyclopedia Britannica to Shut Down Print Operations

Norma on Encyclopedia Britannica to Shut Down Print Operations

Bill Benzon on What’s an Object, Metaphysically Speaking?

john balwit on What’s an Object, Metaphysically Speaking?

William Ray on That Shakespeare Thing

Bill Benzon on That Shakespeare Thing

William Ray on That Shakespeare Thing

JoseAngel on That Shakespeare Thing

Bill Benzon on Objects and Graeber's Debt

Bill Benzon on A Dirty Dozen Sneaking up on the Apocalypse

JoseAngel on A Dirty Dozen Sneaking up on the Apocalypse

JoseAngel on Objects and Graeber's Debt

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Friday, July 25, 2008

Jim Henley on Some of Origins of Marvel (and Other Comics)

Posted by John Holbo on 07/25/08 at 07:23 AM

Jim Henley’s contribution to our Doug Wolk event is up. He writes up a nice, thumbnail history, aiming to debunk a certain ‘myth of the fall’:

Once upon a time, the comic-book industry offered a stupefying variety of material. From the late 1930s through the late 1960s you could buy monster comics, romance comics, humor comics, crime comics, horror comics, and, yes, superhero comics. Alas, as the 1970s turned to the 1980s, the two major corporate publishers, Marvel and DC, turned their backs on the general audience - especially children - to saturate the emerging (adult) fan market flocking to comics specialty stores, and since the fan market wanted superheroes and more superheroes, that’s what the Big Two, and a remora-school of wannabes, gave them. As a result, circulations plummeted ...

This, he points out, is backwards. I think he’s probably right. The following interesting and true observation follows in due course. Why did the superhero pamphlet-sized comic die more slowly than other genres?

I think it’s because superheroes really did remain comic books’ competitive advantage: they were the kind of genre story that comics could tell effectively that other media couldn’t. Romance readers enjoyed the rise of Harlequin and Silhouette. Milporn enthusiasts could buy Mac Bolan paperbacks, at least until they stopped reading. Horror fans had numerous low-budget movies that delivered the various kinds of fright kicks more effectively than could drawings on newsprint. If you wanted war stories, you could get them from movies, books or TV. But until recently, other media couldn’t or wouldn’t provide superhero entertainment as well as the comic-book medium could. It’s not that there were no TV shows, no cartoons or no movies. It’s just that, for the aficionado of superheroes, there weren’t enough of them, and many of the ones that did exist didn’t measure up.


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