Romance comics are a genre of comic books that were most popular during the Golden Age of Comics. The market for comics, which had been growing rapidly throughout the 1940s, began to plummet after the end of World War II when military contracts to provide disposable reading matter to servicemen ended. This left many comic creators seeking new markets. In 1947, part of an effort to tap into new adult audiences, the romance comic genre was created by Joe Simon and Jack Kirby with the Crestwood Publications title Young Romance.
As World War II ended the popularity of superhero comics diminished, and in an effort to retain readers comic publishers began diversifying more than ever into such genres as war, Western, science fiction, crime, horror and romance comics.[1] The genre took its immediate inspiration from the romance pulps; confession magazines such as True Story; radio soap operas, and newspaper comic strips that focused on love, domestic strife, and heartache, such as Rex Morgan, M.D. and Mary Worth.[2]Teen humor comics had romantic plots before the invention of romance comics.[3]
Simon and Kirby's Young Romance debuted in 1947. In the next 30 years, over 200 issues of the flagship romance comic would be produced.[3]
The first issue of Fox Feature Syndicate's My Life (Sept. 1948) was the third romance comic book title on the newsstands following Crestwood's Young Romance and Timely/Marvel's My Romance.
The DC Comics romance line was initially overseen by Jack Miller, who also wrote many stories.[4] (Later, a number of female editors oversaw DC's romance line, including Zena Brody[5] and Dorothy Woolfolk.)[6] As author Michelle Nolan writes, "National's romance line was remarkably stable and thus must have sold consistently well. Beginning in 1952, ... the company produced Girls' Love Stories, Girls' Romances, and Secret Hearts on a bi-monthly basis through late 1957, when those three titles along with Falling in Love began to appear eight times per year.... The company picked up a fifth romance title, Heart Throbs, ... after Quality Comics left the business in 1956."[7] By 1970, right before the romance market collapsed, DC had seven romance titles.[8]
Fox Feature Syndicate published over two dozen love comics with 17 featuring "My" in the title—My Desire, My Secret, My Secret Affair, et al.[2]
Charlton Comics published a wide line of romance titles, particularly after 1953 when it acquired the Fawcett Comics line, which included Sweethearts, Romantic Secrets, and Romantic Story. Sweethearts was the comics world's first monthly romance title[9] (debuting in 1948), and Charlton continued publishing it until 1973.
Following the implementation of the Comics Code in 1954, publishers of romance comics self-censored the content of their publications, making the stories bland and innocent with an emphasis on traditional patriarchial concepts of women's behavior, gender roles, domesticity, and marriage. When the sexual revolution questioned the values promoted in romance comics, along with the decline in comics in general, romance comics began their slow fade. DC Comics, Marvel Comics, and Charlton Comics carried a few romance titles into the middle 1970s, but the genre never regained the level of popularity it once enjoyed. The heyday of romance comics came to an end with the last issues of Young Romance and Young Love in the middle 1970s.[9][10][11]
Charlton and DC artist and editor Dick Giordano stated in 2005: {{quote|[G]irls simply outgrew romance comics ... [The content was] too tame for the more sophisticated, sexually liberated, women's libbers [who] were able to see nudity, strong sexual content, and life the way it really was in other media. Hand-holding and pining after the cute boy on the football team just didn't do it anymore, and the Comics Code wouldn't pass anything that truly resembled real-life relationships."[9]
Decades later, romance-themed comics made a modest resurgence with Arrow Publications' "My Romance Stories",[12]Dark Horse Comics' manga-style adaptations of Harlequin novels,[13][14] and long-running serials such as Strangers in Paradise — described by one reviewer as an attempt "to single-handedly update an entire genre with a new, skewed look at relationships and friendships."[15]
Hopeless (1963) — adapted from a panel from the same story, "Run for Love!", artwork by Tony Abruzzo and lettered by Ira Schnapp, in Secret Hearts #83 (November 1962)[23]
In the Car (sometimes called Driving) (1963) — adapted from a Tony Abruzzo[24] panel in Girls' Romances #78 (DC, September 1961)
Generally considered the first romance comic, created by Simon & Kirby. Acquired from Crestwood in 1963
Reprints
Comics historian John Benson collected and analyzed St. John Publications' romance comics in Romance Without Tears (Fantagraphics, 2003), focusing on the elusive comics scripter Dana Dutch, and the companion volume Confessions, Romances, Secrets and Temptations: Archer St. John and the St. John Romance Comics (Fantagraphics, 2007). To research the 1950s era of romance comics, Benson interviewed Ric Estrada, Joe Kubert and Leonard Starr, plus several St. John staffers, including editor Irwin Stein, production artist Warren Kremer and editorial assistant Nadine King.
In 2011, an anthology Agonizing Love: The Golden Era of Romance Comics, edited by Michael Barson, was published by Harper Design. In 2012, many of Simon and Kirby's romance comics were reprinted by Fantagraphics in a collection entitled Young Romance: The Best of Simon & Kirby's 1940s-'50s Romance Comics, edited by Michel Gagné.
British romance comics
Romance comics in the United Kingdom also flourished in the mid-1950s with such weekly titles as Mirabelle (Pearson), Picture Romances (Newnes/IPC), Valentine (Amalgamated Press), and Romeo (DC Thomson). All four titles lasted into the 1970s. Other British romance comics included Marilyn (1955–1965), New Glamour (1956–1958), Roxy (1958–1963), Marty (1960–1963), and Serenade (1962–1963); all of which eventually merged into Valentine and Mirabelle (Valentine itself merged into Mirabelle in 1974).[lower-alpha 1]
In 1956–1957 DC Thomson launched a line of monthly romance titles: Blue Rosette Romances, Golden Heart Love Stories, Love & Life Library, and Silver Moon Romances. In April 1965, all four titles were merged into the single weekly Star Love Stories title, with one issue per month maintaining the cover logo from the original companion titles.[30]Star Love Stories, which changed its name to Star Love Stories in Pictures in 1976, lasted until 1990.[31]
The photo comic romance titles Photo Love and Photo Secret debuted in 1979 and 1980 respectively. They both eventually merged into another publication.
Charlton Comics was an American comic-book publishing company that existed from 1945 to 1986, having begun under a different name: T. W. O. Charles Company, in 1940. It was based in Derby, Connecticut. The comic-book line was a division of Charlton Publications, which published magazines, puzzle books, and briefly, books. It had its own distribution company.
Richard Joseph Giordano was an American comics artist and editor whose career included introducing Charlton Comics' "Action Heroes" stable of superheroes and serving as executive editor of DC Comics.
John Victor Romita was an American comic book artist best known for his work on Marvel Comics' The Amazing Spider-Man and for co-creating characters including Mary Jane Watson, the Punisher, Kingpin, Wolverine, and Luke Cage. Romita was the father of John Romita Jr., also a comic book artist, and the husband of Virginia Romita, who was for many years Marvel's traffic manager.
Fawcett Comics, a division of Fawcett Publications, was one of several successful comic book publishers during the Golden Age of Comic Books in the 1940s. Its most popular character was Captain Marvel, the alter ego of radio reporter Billy Batson, who transformed into the hero whenever he said the magic word "Shazam!".
Notable events of 1965 in comics.
Vincent Colletta was an American comic book artist and art director best known as one of Jack Kirby's frequent inkers during the 1950s-1960s period called the Silver Age of comic books. This included some significant early issues of Marvel Comics' Fantastic Four, and a long, celebrated run on the character Thor in Journey into Mystery and The Mighty Thor.
Girls' Love Stories was an American romance comic book magazine published by DC Comics in the United States. Started in 1949 as DC's first romance title, it ran for 180 issues, ending with the Nov-Dec 1973 issue. The stories covered such topics as girls worrying about getting a man, or marrying out of pressure, not love. Some of the early covers were photographs. The book's initial tagline was "True to Life!"
Girls' Romances is a romance comic anthology published by DC Comics in the United States. Debuting with a Feb.,/Mar. 1950 cover-date, it ran for 160 issues, ending with the Oct. 1971 issue.
Ira Schnapp was a logo designer and letterer who brought his classic and art deco design styles to DC Comics beginning with the redesign of the Superman logo in 1940. He did a great deal of logo and lettering work for the company in the 1940s. Around 1949, he joined the staff as their in-house logo, cover lettering and house-ad designer and letterer, and continued in that role until about 1967.
Alan Class Comics was a British comics publishing company that operated between 1959 and 1989. The company produced anthology titles, reprinting comics stories from many U.S. publishers of the 1940s to 1960s in a black and white digest size format for a UK audience. During the 1960s and 1970s, these reprints were the main medium through which British children were introduced to American monster and mystery comics, as well as most non-DC or Marvel superheroes.
Heart Throbs was a romance comic published by Quality Comics and DC Comics from 1949 to 1972. Quality published the book from 1949–1957, when it was acquired by DC. Most issues featured a number of short comics stories, as well advice columns, text pieces, and filler. The long-running feature "3 Girls—Their Lives—Their Loves", drawn by Jay Scott Pike and inked by Russ Jones, ran in Heart Throbs from 1966–1970.
Oh, Jeff...I Love You, Too...But... is a 1964 oil and magna on canvas painting by Roy Lichtenstein. Like many of Lichtenstein's works, its title comes from the speech balloon in the painting.
Drowning Girl is a 1963 American painting in oil and synthetic polymer paint on canvas by Roy Lichtenstein, based on original art by Tony Abruzzo. The painting is considered among Lichtenstein's most significant works, perhaps on a par with his acclaimed 1963 diptych Whaam!. One of the most representative paintings of the pop art movement, Drowning Girl was acquired by the Museum of Modern Art in 1971.
In the Car is a 1963 pop art painting by Roy Lichtenstein. The smaller, older of the two versions of this painting formerly held the record for highest auction price for a Lichtenstein painting. The larger version has been in the collection of the Scottish National Gallery of Modern Art in Edinburgh since 1980.
Crying Girl is the name of two different works by Roy Lichtenstein: a 1963 offset lithograph on lightweight, off-white wove paper and a 1964 porcelain enamel on steel.
Hopeless is a 1963 painting with oil paint and acrylic paint on canvas by Roy Lichtenstein. The painting is in the collection of the Kunstmuseum Basel.
Secret Hearts was a romance comic anthology published by DC Comics in the United States, primarily in the 1950s and '60s. A staple of the company's romance line, it was "one of the publisher's most successful and well-known romance titles."
Arthur F. Peddy was an American comic book and advertising artist best known for co-creating Quality Comics' superhero character Phantom Lady and Atlas Comics' jungle girl character Jann of the Jungle. He also was known for a stint as penciler of the superhero team the Justice Society of America for what later became DC Comics.
Anthony Joseph "Tony" Abruzzo (1916–1990) was an American comic book artist. He is best known for his work in the romance comics field for National Periodicals, particularly Girls' Love Stories, for which he illustrated stories continuously from 1954 to 1972. In the early 1960s, pop artist Roy Lichtenstein derived many of his best-known works from the panels of romance comics that had been illustrated by Abruzzo.
References
Notes
↑ In contrast to romance comics, which were aimed at older teens and young women, the prevalent form of UK comics marketed to females were girls' comics, geared toward younger teens, which also flourished during this period. These weekly comics developed more of a romance angle in the 1980s.[29]
Sequential Crush, a blog "devoted to preserving the memory of romance comic books and the creative teams that published them throughout the 1960s and 1970s"
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