This article is about periodicals containing comics. For the comics art medium, see Comics.
Comic books on display at a museum, depicting how they would have been displayed at a rail station store in the first half of the 20th centuryA common comic-book cover format displays the issue number, date, price and publisher along with an illustration and cover copy which may include a story's title.
A comic book, comic-magazine or simply 'comic', is a publication that consists of comics art in the form of sequential juxtaposed panels that represent individual scenes. Panels are often accompanied by descriptive prose and written narrative, usually dialogue contained in word balloons emblematic of the comics art form.
Comic Cuts was a British comic published from 1890 to 1953. It was preceded by Ally Sloper's Half Holiday (1884), which is notable for its use of sequential cartoons to unfold narrative. These British comics existed alongside the popular lurid "penny dreadfuls" (such as Spring-heeled Jack), boys' "story papers" and the humorous Punch magazine, which was the first to use the term "cartoon" in its modern sense of a humorous drawing.
The first modern American-style comic book, Famous Funnies: A Carnival of Comics, was released in the U.S. in 1933 and was a reprinting of earlier newspaper humor comic strips, which had established many of the story-telling devices used in comics.[1] The term comic book derives from American comic books once being a compilation of comic strips of a humorous tone; however, this practice was replaced by featuring stories of all genres, usually not humorous in tone.
The largest comic book market is Japan. By 1995, the manga market in Japan was valued at ¥586.4 billion ($6–7 billion),[2] with annual sales of 1.9billion manga books (tankōbon volumes and manga magazines) in Japan, equivalent to 15issues per person.[3] In 2020 the manga market in Japan reached a new record value of ¥612.5 billion due to a fast growth of digital manga sales as well as an increase in print sales.[4][5] The comic book market in the United States and Canada was valued at $1.09 billion in 2016.[6]As of 2017[update], the largest comic book publisher in the United States is manga distributor Viz Media, followed by DC Comics and Marvel Comics featuring superhero comics franchises such as Superman, Batman, Wonder Woman, Spider-Man, the Incredible Hulk and the X-Men.[7] The best-selling comic book categories in the US as of 2019[update] are juvenile children's fiction at 41%, manga at 28% and superhero comics at 10% of the market.[8] Another major comic book market is France, where Franco-Belgian comics and Japanese manga each represent 40% of the market, followed by American comics at 10% market share.[9]
Comic books heavily rely on their organization and visual presentation. Authors dedicate significant attention to aspects like page layout, size, orientation, and the positioning of panels. These characteristics are crucial for effectively conveying the content and messages within the comic book. Key components of comic books encompass panels, speech bubbles (also known as balloons), text lines, and characters. Speech balloons generally take the form of convex containers that hold character dialogue and are connected to the character via a tail element. The tail comprises an origin, path, tip, and directional point. The creation of comic books involves several essential steps: writing, drawing, and coloring. Various technological tools and methods are employed to craft comic books, incorporating concepts such as directions, axes, data, and metrics. Following these formatting guidelines, the process unfolds with writing, drawing, and coloring.[10] In the United States, the term "comic book", is generally used for comics periodicals and trade paperbacks while "graphic novel" is the term used for standalone books.[11][12]
Comics as a print medium have existed in the United States since the printing of The Adventures of Mr. Obadiah Oldbuck in 1842 in hardcover,[13] making it the first known American prototype comic book. Proto-comics periodicals began appearing early in the 20th century, with the first comic standard-sized comic being Funnies on Parade. Funnies on Parades was the first book that established the size, duration, and format of the modern comic book. Following this was, Dell Publishing's 36-page Famous Funnies: A Carnival of Comics as the first true newsstand American comic book; Goulart, for example, calls it "the cornerstone for one of the most lucrative branches of magazine publishing".[14] In 1905 G.W. Dillingham Company published 24 select strips by the cartoonist Gustave Verbeek in an anthology book called 'The Incredible Upside-Downs of Little Lady Lovekins and Old Man Muffaroo'.[15] The introduction of Jerry Siegel and Joe Shuster's Superman in 1938 turned comic books into a major industry[16] and ushered in the Golden Age of Comic Books. The Golden Age originated the archetype of the superhero. According to historian Michael A. Amundson, appealing comic-book characters helped ease young readers' fear of nuclear war and neutralize anxiety about the questions posed by atomic power.[17]
Historians generally divide the timeline of the American comic book into eras. The Golden Age of Comic Books began in 1938, with the debut of Superman in Action Comics #1, published by Detective Comics (predecessor of DC Comics), which is generally considered the beginning of the modern comic book as it is known today.[18] The Silver Age of Comic Books is generally considered to date from the first successful revival of the then-dormant superhero form, with the debut of the Flash in Showcase #4 (Oct. 1956).[19][20] The Silver Age lasted through the late 1960s or early 1970s, during which time Marvel Comics revolutionized the medium with such naturalistic superheroes as Stan Lee and Jack Kirby's Fantastic Four and Lee and Steve Ditko's Spider-Man. The demarcation between the Silver Age and the following era, the Bronze Age of Comic Books, is less well-defined, with the Bronze Age running from the very early 1970s through the mid-1980s.[21] The Modern Age of Comic Books runs from the mid-1980s to the present day.[22]
A significant event in the timeline of American comic books occurred when psychiatrist Fredric Wertham voiced his criticisms of the medium through his book Seduction of the Innocent (1954). This critique led to the involvement of the American Senate Subcommittee on Juvenile Delinquency, which launched an investigation into comic books. Wertham argued that comic books were accountable for a surge in juvenile delinquency and posed a potential impact on a child's sexuality and moral values.[23] In response to attention from the government and from the media, the US comic book industry set up the Comics Magazine Association of America.[24] The CMAA instilled the Comics Code Authority in 1954 and drafted the self-censorship Comics Code that year, which required all comic books to go through a process of approval. It was not until the 1970s that comic books could be published without passing through the inspection of the CMAA.[25] The Code was made formally defunct in November 2011.
In the late 1960s and early 1970s, a surge of creativity emerged in what became known as underground comix. Published and distributed independently of the established comics industry, most of such comics reflected the youth counterculture and drug culture of the time. Underground comix "reflected and commented on the social divisions and tensions of American society".[attribution needed][26] Many had an uninhibited, often irreverent style; their frank depictions of nudity, sex, profanity, and politics had no parallel outside their precursors, the pornographic and even more obscure "Tijuana bibles". Underground comics were almost never sold at newsstands, but rather in such youth-oriented outlets as head shops and record stores, as well as by mail order. The underground comics encouraged creators to publish their work independently so that they would have full ownership rights to their characters.[26]
Frank Stack's The Adventures of Jesus, published under the name Foolbert Sturgeon,[27][28] has been credited as the first underground comix;[27][28] while R. Crumb and the crew of cartoonists who worked on Zap Comix popularized the form.
The rise of comic book specialty stores in the late 1970s created and paralleled a dedicated market for "independent" or "alternative comics" in the US. The first such comics included the anthology series Star Reach, published by comic book writer Mike Friedrich from 1974 to 1979, and Harvey Pekar's American Splendor, which continued sporadic publication into the 21st century and which Shari Springer Berman and Robert Pulcini adapted into a 2003 film. Some independent comics continued in the tradition of underground comics. While their content generally remained less explicit, others resembled the output of mainstream publishers in format and genre but were published by smaller artist-owned companies or by single artists. A few (notably RAW) represented experimental attempts to bring comics closer to the status of fine art.
During the 1970s the "small press" culture grew and diversified. By the 1980s, several independent publishers – such as Pacific, Eclipse, First, Comico, and Fantagraphics – had started releasing a wide range of styles and formats—from color-superhero, detective, and science-fiction comic books to black-and-white magazine-format stories of Latin Americanmagical realism.
A number of small publishers in the 1990s, changed the format and distribution of their comics to more closely resemble non-comics publishing. The "minicomics" form, an extremely informal version of self-publishing, arose in the 1980s and became increasingly popular among artists in the 1990s,[29] despite reaching an even more limited audience than the small press.
Precursors of the form existed by the 1920s, which saw a revival of the medievalwoodcut tradition by Belgian Frans Masereel,[31] American Lynd Ward and others, including Stan Lee.
In 1947, Fawcett Publications published "Comics Novel No. 1", as the first in an intended series of these "comics novels". The story in the first issue was "Anarcho, Dictator of Death", a five chapter spy genre tale written by Otto Binder and drawn by Al Carreno. It is readable online in the Digital Comic Museum.[32] The magazine never reached a second issue.
In 1971, writer-artist Gil Kane and collaborators applied a paperback format to their "comics novel" Blackmark. Will Eisner popularized the term "graphic novel" when he used it on the cover of the paperback edition of his work A Contract with God, and Other Tenement Stories in 1978 and, subsequently, the usage of the term began to increase.
In 2017, the comic book market size for North America was just over $1billion with digital sales being flat, book stores having a 1 percent decline, and comic book stores having a 10 percent decline over 2016.[34] The global comic book market saw a substantial 12% growth in 2020, reaching a total worth of US$8.49 billion. This positive trajectory continued in 2021, with the market's annual valuation surging to US$9.21 billion. The rising popularity of comic books can be attributed to heightened global interest, driven significantly by collaborative efforts among diverse brands. These collaborations are geared towards producing more engaging and appealing comic content, contributing to the industry's continued growth.[35]
The 1970s saw the advent of specialty comic book stores. Initially, comic books were marketed by publishers to children because comic books were perceived as children's entertainment. However, with increasing recognition of comics as an art form and the growing pop culture presence of comic book conventions, they are now embraced by many adults.[24]
Comic book collectors often exhibit a lifelong passion for the stories within comics, often focusing on specific superheroes and striving to gather a complete collection of a particular series. Comics are assigned sequential numbers, and the initial issue of a long-lasting comic book series tends to be both the scarcest and the most coveted among collectors. The introduction of a new character might occur within an existing title. For instance, the first appearance of Spider-Man took place in Amazing Fantasy #15. New characters were frequently introduced in this manner, waiting for an established audience before launching their own titles. Consequently, comics featuring the debut appearance of a significant character can sometimes be even more challenging to locate than the inaugural issue of that character's standalone series.
Some rare comic books include copies of the unreleased Motion Picture Funnies Weekly #1 from 1939. Eight copies, plus one without a cover, emerged in the estate of the deceased publisher in 1974. The "Pay Copy" of this book sold for $43,125 in a 2005 Heritage auction.[36]
The most valuable American comics have combined rarity and quality with the first appearances of popular and enduring characters. Four comic books have sold for over US$1million as of December2010[update], including two examples of Action Comics #1, the first appearance of Superman,[37][38] both sold privately through online dealer ComicConnect.com in 2010, and Detective Comics #27, the first appearance of Batman, via public auction.
Updating the above price obtained for Action Comics #1, the first appearance of Superman, the highest sale on record for this book is $3.2million, for a 9.0 copy.[39]
Misprints, promotional comic-dealer incentive printings, and issues with exceptionally low distribution tend to possess scarcity value in the comic book market. The rarest modern comic books include the original press run of The League of Extraordinary Gentlemen #5, which DC executive Paul Levitz recalled and pulped due to the appearance of a vintage Victorian era advertisement for "Marvel Douche", which the publisher considered offensive;[40] only 100 copies exist, most of which have been CGC graded. (See Recalled comics for more pulped, recalled, and erroneous comics.)
In 2000, a company named Comics Guaranty (CGC) initiated the practice of "slabbing" comics, which involves encasing them within thick plastic cases and assigning them a numerical grade. This approach inspired the emergence of Comic Book Certification Service. Given the significance of condition in determining the value of rare comics, the concept of grading by an impartial company, one that does not engage in buying or selling comics, seemed promising. Nevertheless, there is an ongoing debate regarding whether the relatively high cost of this grading service is justified and whether it serves the interests of collectors or mainly caters to speculators seeking rapid profits, akin to trading in stocks or fine art. Comic grading has played a role in establishing standards for valuation, which online price guides such as GoCollect and GPAnalysis utilize to provide real-time market value information.
Collectors also seek out the original artwork pages from comic books, which are perhaps the most rarefied items in the realm of comic book collecting. These pages hold unparalleled scarcity due to the fact that there exists only one unique page of artwork for every page that was printed and published.
The creation of these original artwork pages involves a collaborative effort: a writer crafts the story, a pencil artist designs the sequential panels on the page, an ink artist goes over the pencil with pen and ink, a letterer provides the dialogue and narration through hand-lettering, and finally, a colorist adds color as the final touch before the pages are sent to the printer.
When the printer returns the original artwork pages, they are typically returned to the artists themselves. These artists sometimes opt to sell these pages at comic book conventions, in galleries, and at art shows centered around comic book art. The original pages from DC and Marvel, featuring the debut appearances of iconic characters such as Superman, Batman, Wonder Woman, the Flash, Captain Marvel, Spider-Man, the Incredible Hulk, Iron Man, Captain America and the Mighty Thor are regarded as priceless treasures within the comic book world.
Many early iterations of black characters in comics "became variations on the 'single stereotypical image of Sambo'."[41] Sambo was closely related to the coon stereotype but had some subtle differences. They are both a derogatory way of portraying black characters. "The name itself, an abbreviation of raccoon, is dehumanizing. As with Sambo, the coon was portrayed as a lazy, easily frightened, chronically idle, inarticulate, buffoon."[42] This portrayal "was of course another attempt to solidify the intellectual inferiority of the black race through popular culture."[41] However, in the 1940s there was a change in portrayal of black characters. "A cursory glance...might give the impression that situations had improved for African Americans in comics."[41] In many comics being produced in this time there was a major push for tolerance between races. "These equality minded heroes began to spring to action just as African Americans were being asked to participate in the war effort."[41]
During this time, a government ran program, the Writers' War Board, became heavily involved in what would be published in comics. "The Writers' War Board used comic books to shape popular perceptions of race and ethnicity..."[43] Not only were they using comic books as a means of recruiting all Americans, they were also using it as propaganda to "[construct] a justification for race-based hatred of America's foreign enemies."[43] The Writers' War Board created comics books that were meant to "[promote] domestic racial harmony".[43] However, "these pro-tolerance narratives struggled to overcome the popular and widely understood negative tropes used for decades in American mass culture...".[43] However, they were not accomplishing this agenda within all of their comics.
In the comic series Captain Marvel Adventures, there was a character named Steamboat who embodied a collection of highly negative stereotypes prevalent during that period. The Writers' War Board did not request any alterations to this character despite the problematic portrayal. The removal of Steamboat from the series only came about due to the persistent advocacy of a black youth group based in New York City."[43] Originally their request was refused by individuals working on the comic stating, "Captain Marvel Adventures included many kinds of caricatures 'for the sake of humor'."[43] The black youth group responded with "this is not the Negro race, but your one-and-a-half millions readers will think it so."[43] Afterwards, Steamboat disappeared from the comics all together. There was a comic created about the 99th Squadron, also known as the Tuskegee Airmen, an all-black air force unit. Instead of making the comic about their story, the comic was about Hop Harrigan. A white pilot who captures a Nazi, shows him videos of the 99th Squadron defeating his men and then reveals to the Nazi that his men were defeated by African Americans which infuriated him as he sees them as a less superior race and cannot believe they bested his men."The Tuskegee Airmen, and images of black aviators appear in just three of the fifty three panels... the pilots of the 99th Squadron have no dialogue and interact with neither Hop Harrigan nor his Nazi captive."[43] During this time, they also used black characters in comic books as a means to invalidate the militant black groups that were fighting for equality within the U.S. "Spider-Man 'made it clear that militant black power was not the remedy for racial injustice'."[41] "The Falcon openly criticized black behavior stating' maybe it's important fo[sic] us to cool things down-so we can protect the rights we been fightin' for'."[41] This portrayal and character development of black characters can be partially blamed on the fact that, during this time, "there had rarely been a black artist or writer allowed in a major comics company."[41]
Asian characters within comic books encountered similar prejudiced treatment as black characters did. They were subjected to dehumanizing depictions, with narratives often portraying them as "incompetent and subhuman."[43] In a 1944 edition of the publication United States Marines, there was a story titled The Smell of the Monkeymen. This narrative portrayed Japanese soldiers as brutish simians, and it depicted their concealed positions being betrayed by their repugnant body odor.[43] Chinese characters received the same treatment. "By the time the United States entered WWII, negative perceptions of Chinese were an established part of mass culture...."[43] However, concerned that the Japanese could use America's anti-Chinese material as propaganda they began "to present a more positive image of America's Chinese allies..."[43] Just as they tried to show better representation for Black people in comics they did the same for Asian people. However, "Japanese and Filipino characters were visually indistinguishable. Both groups have grotesque buckteeth, tattered clothing, and bright yellow skin."[43] "Publishers depicted America's Asian allies through derogatory images and language honed over the preceding decades."[43] Asian characters were previously portrayed as, "ghastly yellow demons".[41] During WWII, "[every] major superhero worth his spandex devoted himself to the eradication of Asian invaders."[41] There was "a constant relay race in which one Asian culture merely handed off the baton of hatred to another with no perceptible changes in the manner in which the characters would be portrayed."[41]
"The only specific depiction of a Hispanic superhero[dubious–discuss] did not end well. In 1975, Marvel gave us Hector Ayala (a.k.a The White Tiger)."[41] "Although he fought for several years alongside the likes of much more popular heroes such as Spider-Man and Daredevil, he only lasted six years before sales of comics featuring him got so bad that Marvel had him retire.[41] The most famous Hispanic character is Bane, a villain from Batman."[41]
The Native American representation in comic books "can be summed up in the noble savage stereotype"[41] " a recurring theme...urged American indians to abandon their traditional hostility towards the United States. They were the ones painted as intolerant and disrespectful of the dominant concerns of white America".[41]
Manga (漫画) are comic books or graphic novels originating from Japan. Most manga conform to a style developed in Japan in the late 19th century, though the art form has a long prehistory in earlier Japanese art. The term manga is used in Japan to refer to both comics and cartooning in general. Outside Japan, the word is typically used to refer to comics originally published in the country.
Dōjinshi (同人誌, fan magazine), fan-made Japanese comics, operate in a far larger market in Japan than the American "underground comix" market; the largest dōjinshi fair, Comiket, attracts 500,000 visitors twice a year.[44]
Manhwa (만화) are comic books or graphic novels originating from South Korea. The term manhwa is used in South Korea to refer to both comics and cartooning in general. Outside South Korea, the term usually refers to comics originally published in the country. Manhwa is greatly influenced by Japanese Manga comics though it differs from manga and manhua with its own distinct features.
Webtoons have become popular in South Korea as a new way to read comics. Thanks in part to different censorship rules, color and unique visual effects, and optimization for easier reading on smartphones and computers. More manhwa have made the switch from traditional print manhwa to online webtoons thanks to better pay and more freedom than traditional print manhwa. The webtoon format has also expanded to other countries outside of Korea like China, Japan, Southeast Asia, and Western countries. Major webtoon distributors include Lezhin, Naver, and Kakao.
France and Belgium have a long tradition in comics and comic books, often called BDs (an abbreviation of bandes dessinées, meaning literally "drawn strips")[45] in French, and strips in Dutch or Flemish. Belgian comic books originally written in Dutch show the influence of the Francophone "Franco-Belgian" comics but have their own distinct style.[citation needed]
Although Ally Sloper's Half Holiday (1884) was aimed at an adult market, publishers quickly targeted a younger demographic, which has led to most publications being for children and has created an association in the public's mind of comics as somewhat juvenile. The Guardian refers to Ally Sloper as "one of the world's first iconic cartoon characters", and "as famous in Victorian Britain as Dennis the Menace would be a century later."[47] British comics in the early 20th century typically evolved from illustrated penny dreadfuls of the Victorian era (featuring Sweeney Todd, Dick Turpin and Varney the Vampire).[48] First published in the 1830s, penny dreadfuls were "Britain's first taste of mass-produced popular culture for the young."[49]
Statue of Minnie the Minx, a character from The Beano, in Dundee, Scotland. Launched in 1938, The Beano is known for its anarchic humour, with Dennis the Menace appearing on the cover.
The two most popular British comic books, The Beano and The Dandy, were first published by DC Thomson in the 1930s. By 1950 the weekly circulation of both reached two million.[50][51] Explaining the enormous popularity of comics in the UK during this period, Anita O'Brien, director curator at London's Cartoon Museum, states: "When comics like the Beano and Dandy were invented back in the 1930s – and through really to the 1950s and 60s – these comics were almost the only entertainment available to children."[50]Dennis the Menace was created in the 1950s, which saw sales for The Beano soar.[52] He features in the cover of The Beano, with the BBC referring to him as the "definitive naughty boy of the comic world."[52]
In 1954, Tiger comics introduced Roy of the Rovers, the hugely popular football based strip recounting the life of Roy Race and the team he played for, Melchester Rovers. The stock media phrase "real 'Roy of the Rovers' stuff" is often used by football writers, commentators and fans when describing displays of great skill, or surprising results that go against the odds, in reference to the dramatic storylines that were the strip's trademark.[53] Other comic books such as Eagle, Valiant, Warrior, Viz and 2000 AD also flourished. Some comics, such as Judge Dredd and other 2000 AD titles, have been published in a tabloid form. Underground comics and "small press" titles have also appeared in the UK, notably Oz and Escape Magazine.
The content of Action, another title aimed at children and launched in the mid-1970s, became the subject of discussion in the House of Commons. Although on a smaller scale than similar investigations in the US, such concerns led to a moderation of content published within British comics. Such moderation never became formalized to the extent of promulgating a code, nor did it last long. The UK has also established a healthy market in the reprinting and repackaging of material, notably material originating in the US. The lack of reliable supplies of American comic books led to a variety of black-and-white reprints, including Marvel's monster comics of the 1950s, Fawcett's Captain Marvel, and other characters such as Sheena, Mandrake the Magician, and the Phantom. Several reprint companies became involved in repackaging American material for the British market, notably the importer and distributor Thorpe & Porter. Marvel Comics established a UK office in 1972. DC Comics and Dark Horse Comics also opened offices in the 1990s. The repackaging of European material has occurred less frequently, although The Adventures of Tintin and Asterix serials have been successfully translated and repackaged in softcover books. The number of European comics available in the UK has increased in the last two decades. The British company Cinebook, founded in 2005, has released English translated versions of many European series.
At Christmas, publishers repackage and commission material for comic annuals, printed and bound as hardcover A4-size books; "Rupert" supplies a famous example of the British comic annual. DC Thomson also repackages The Broons and Oor Wullie strips in softcover A4-size books for the holiday season.
In Italy, comics (known in Italian as fumetti) made their debut as humor strips at the end of the 19th century, and later evolved into adventure stories. After World War II, however, artists like Hugo Pratt and Guido Crepax exposed Italian comics to an international audience. Popular comic books such as Diabolik or the Bonelli line—namely Tex Willer or Dylan Dog—remain best-sellers.[60]
Mainstream comics are usually published on a monthly basis, in a black-and-white digest size format, with approximately 100 to 132 pages. Collections of classic material for the most famous characters, usually with more than 200 pages, are also common. Author comics are published in the French BD format, with an example being Pratt's Corto Maltese.
Italian cartoonists show the influence of comics from other countries, including France, Belgium, Spain, and Argentina. Italy is also famous for being one of the foremost producers of Walt Disney comic stories outside the US; Donald Duck's superhero alter ego, Paperinik, known in English as Superduck, was created in Italy.
The comic book industry has struggled with distribution issues throughout its history, as numerous mainstream retailers have been hesitant to stock substantial quantities of the most engaging and sought-after comics. The smartphone and the tablet have turned out to be an ideal medium for online distribution.[61]
Digital distribution
On 13 November 2007, Marvel Comics launched Marvel Digital Comics Unlimited, a subscription service allowing readers to read many comics from Marvel's history online. The service also includes periodic release new comics not available elsewhere. With the release of Avenging Spider-Man #1, Marvel also became the first publisher to provide free digital copies as part of the print copy of the comic book.[62]
With the growing popularity of smartphones and tablets, many major publishers have begun releasing titles in digital form. The most popular platform is comiXology. Some platforms, such as Graphicly, have shut down.
Comic collections in libraries
Numerous libraries house extensive collections of comics in the form of graphic novels. This serves as a convenient means for the general public to become acquainted with the medium.[63]
Guinness World Records
In 2015, the Japanese manga artistEiichiro Oda was awarded the Guinness World Records title for having the "Most copies published for the same comic book series by a single author". His manga series One Piece, which he writes and illustrates, has been serialized in the Japanese magazine Weekly Shōnen Jump since December 1997, and by 2015, 77 collected volumes had been released. Guinness World Records reported in their announcement that the collected volumes of the series had sold a total of 320,866,000 units. One Piece also holds the Guinness World Records title for "Most copies published for the same manga series".[64]
On 5 August 2018, the Guinness World Records title for the "Largest comic book ever published" was awarded to the Brazilian comic book Turma da Mônica — O Maior Gibi do Mundo!, published by Panini Comics Brasil and Mauricio de Sousa Produções. The comic book measures 69.9 by 99.8 centimetres (2feet 3.5inches by 3feet 3.3inches). The 18-page comic book had a print run of 120 copies.[65]
With the July 2021 publication of the 201st collected volume of his manga series Golgo 13, Japanese manga artist Takao Saito was awarded the Guinness World Records title for "Most volumes published for a single manga series."[66]Golgo 13 has been continuously serialized in the Japanese magazine Big Comic since October 1968, which also makes it the oldest manga still in publication.[67][68]
DC Comics, Inc. is an American comic book publisher and the flagship unit of DC Entertainment, a subsidiary of Warner Bros. Discovery. DC is an initialism for "Detective Comics", an American comic book series first published in 1937.
Marvel Comics is a New York City-based comic book publisher, a property of The Walt Disney Company since December 31, 2009, and a subsidiary of Disney Publishing Worldwide since March 2023. Marvel was founded in 1939 by Martin Goodman as Timely Comics, and by 1951 had generally become known as Atlas Comics. The Marvel era began in August 1961 with the launch of The Fantastic Four and other superhero titles created by Stan Lee, Jack Kirby, Steve Ditko, and numerous others. The Marvel brand, which had been used over the years and decades, was solidified as the company's primary brand.
A superhero or superheroine is a stock character who typically possesses superpowers or abilities beyond those of ordinary people, is frequently costumed concealing their identity, and fits the role of the hero; typically using their powers to help the world become a better place, or dedicating themselves to protecting the public and fighting crime. Superhero fiction is the genre of fiction that is centered on such characters, especially, since the 1930s, in American comic books, as well as in Japanese media.
The Justice League, or Justice League of America (JLA), is a group of superheroes appearing in American comic books published by DC Comics. The team first appeared in The Brave and the Bold #28. Writer Gardner Fox conceived the team as a revival of the Justice Society of America, a similar team from DC Comics from the 1940s which had been pulled out of print due to a decline in sales. The Justice League is an all-star ensemble cast of established superhero characters from DC Comics' portfolio. Diegetically, these superheroes usually operate independently but occasionally assemble as a team to tackle especially formidable villains. This is in contrast to certain other superhero teams such as the X-Men, whose characters were created specifically to be part of the team, with the team being central to their identity. The cast of the Justice League usually features a few highly popular characters who have their own solo books, such as Superman, Batman, and Wonder Woman, alongside several lesser-known characters who benefit from exposure.
A graphic novel is a long-form work of sequential art. The term graphic novel is often applied broadly, including fiction, non-fiction, and anthologized work, though this practice is highly contested by comics scholars and industry professionals. It is, at least in the United States, typically distinct from the term comic book, which is generally used for comics periodicals and trade paperbacks.
Comics are a medium used to express ideas with images, often combined with text or other visual information. It typically takes the form of a sequence of panels of images. Textual devices such as speech balloons, captions, and onomatopoeia can indicate dialogue, narration, sound effects, or other information. There is no consensus among theorists and historians on a definition of comics; some emphasize the combination of images and text, some sequentiality or other image relations, and others historical aspects such as mass reproduction or the use of recurring characters. Cartooning and other forms of illustration are the most common means of image-making in comics. Photo comics is a form that uses photographic images. Common forms include comic strips, editorial and gag cartoons, and comic books. Since the late 20th century, bound volumes such as graphic novels, comic albums, and tankōbon have become increasingly common, along with webcomics as well as scientific/medical comics.
The Golden Age of Comic Books describes an era in the history of American comic books from 1938 to 1956. During this time, modern comic books were first published and rapidly increased in popularity. The superhero archetype was created and many well-known characters were introduced, including Superman, Batman, Robin, Captain Marvel, Captain America, and Wonder Woman.
Alternative comics or independent comics cover a range of American comics that have appeared since the 1980s, following the underground comix movement of the late 1960s and early 1970s. Alternative comics present an alternative to mainstream superhero comics which in the past have dominated the American comic book industry. They span across a wide range of genres, artistic styles, and subjects.
A British comic is a periodical published in the United Kingdom that contains comic strips. It is generally referred to as a comic or a comic magazine, and historically as a comic paper. As of 2014, the three longest-running comics of all time were all British.
An American comic book is a thin periodical originating in the United States, on average 32 pages, containing comics. While the form originated in 1933, American comic books first gained popularity after the 1938 publication of Action Comics, which included the debut of the superhero Superman. This was followed by a superhero boom that lasted until the end of World War II. After the war, while superheroes were marginalized, the comic book industry rapidly expanded and genres such as horror, crime, science fiction and romance became popular. The 1950s saw a gradual decline, due to a shift away from print media in the wake of television and the impact of the Comics Code Authority. The late 1950s and the 1960s saw a superhero revival and superheroes remained the dominant character archetype throughout the late 20th century into the 21st century.
David John Mazzucchelli is an American comics artist and writer, known for his work on seminal superhero comic book storylines Daredevil: Born Again and Batman: Year One, as well as for graphic novels in other genres, such as Asterios Polyp and City of Glass: The Graphic Novel. He is also an instructor who teaches comic book storytelling at the School of Visual Arts in Manhattan.
In comics, a one-shot is a work composed of a single standalone issue or chapter, contrasting a limited series or ongoing series, which are composed of multiple issues or chapters. One-shots date back to the early 19th century, published in newspapers, and today may be in the form of single published comic books, parts of comic magazines/anthologies or published online in websites. In the marketing industry, some one-shots are used as promotion tools that tie in with existing productions, films, video games or television shows.
The Modern Age of Comic Books is a period in the history of American superhero comic books which began in the mid-1980s and continues through the present day. During approximately the first 15 years of this period, many comic book characters were redesigned, creators gained prominence in the industry, independent comics flourished, and larger publishing houses became more commercialized.
In comics in the United States, a trade paperback is a collection of stories originally published in comic books, reprinted in book format, usually presenting either a complete miniseries, a story arc from a single title, or a series of stories with an arc or common theme.
The Bronze Age of Comic Books is an informal name for a period in the history of American superhero comic books, usually said to run from 1970 to 1985. It follows the Silver Age of Comic Books and is followed by the Modern Age of Comic Books.
In comics, LGBT themes are a relatively new concept, as lesbian, gay, bisexual, and transgender (LGBTQ) themes and characters were historically omitted from the content of comic books and their comic strip predecessors due to anti-gay censorship. LGBT existence was included only via innuendo, subtext and inference. However the practice of hiding LGBT characters in the early part of the twentieth century evolved into open inclusion in the late twentieth and early twenty-first centuries, and comics explored the challenges of coming-out, societal discrimination, and personal and romantic relationships between gay characters.
The portrayal of women inAmerican comic books has often been a subject of controversy since the medium's beginning. Critics have noted that both lead and supporting female characters are substantially more subjected to gender stereotypes than the characters of men.
Superhero fiction is a subgenre of speculative fiction examining the adventures, personalities and ethics of costumed crime fighters known as superheroes, who often possess superhuman powers and battle similarly powered criminals known as supervillains. The genre primarily falls between hard fantasy and soft science fiction in the spectrum of scientific realism. It is most commonly associated with American comic books, though it has expanded into other media through adaptations and original works.
The history of comics has followed different paths in different parts of the world. It can be traced back to early precursors such as Trajan's Column, in Rome, Egyptian hieroglyphs and the Bayeux Tapestry.
The history of American comics began in the 19th century in mass print media, in the era of sensationalist journalism, where newspaper comics served as further entertainment for mass readership. In the 20th century, comics became an autonomous art medium and an integral part of American culture.
↑ "The Golden Age of Comics". History Detectives: Special Investigations. PBS. Archived from the original on 5 September 2017. Retrieved 18 February 2015. The precise era of the Golden Age is disputed, though most agree that it was born with the launch of Superman in 1938.
↑ Mizoguchi Akiko (2003). "Male-Male Romance by and for Women in Japan: A History and the Subgenres of Yaoi Fictions". U.S.-Japan Women's Journal, 25: 49–75.
↑ Tomlinson, Alan; Young, Christopher (2000), "Golden Boys and Golden Memories: Fiction, Ideology, and Reality in Roy of the Rovers and the Death of the Hero", in Jones, Dudley; Watkins, Tony, A Necessary Fantasy?: the Heroic Figure in Children's Popular Culture: Vol 18, Garland Publishing. pp. 190–191
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