Comic-Con 2013: A look at past comic books and a glimpse of the genre's future (+video)
Gerard Jones, author of 'Men of Tomorrow: Geeks, Gangsters, and the Birth of the Comic Book,' explains the origins of comic books, the hardships they went through, and where they are apt to go next.
(Page 2 of 2)
Some early publishers did really sleazy pulp-fiction magazines, and there were shoddy, bottom-end publishers. The comics were vivid and energetic but very unpolished, and a lot looked crass and vulgar to people.Skip to next paragraph
Pastor reportedly buys his way onto New York Times bestseller list
'Paddington' movie trailer glimpses at children's book series bear
Goldman Sachs elevator tweeter loses book deal
Characters struggle for sleep in new literary works
Anne Rice and others sign petition urging Amazon to get rid of anonymous comments
Subscribe Today to the Monitor
And a lot were about guys fighting. They really leaned heavily on violence, more nonstop combat than you'd see in a movie.
Q: Comic books came under fire in the 1950s as contributors to juvenile delinquency. That seems silly now, but were the critics onto something about how the comics were violent and sexualized?
A: Some were very gruesome and very sexualized, with cruelty and sadism going on in a lot of stories. Parents were legitimately alarmed with some reason. But there was this huge backlash that gutted business to the point where nothing that wasn't safe for an eight year old would see print.
It was really a little kids' medium until you get to the '70s, when the older fans become a bigger part of the audience – the old, hardcore beleaguered fan boys who kept arguing that this stuff was worth looking at and saving.
Q: When did comic books take a turn toward the dark side?
A: That came out of the mid-1990s, when it became the style to do the self-referential, queasy-making, rough, dark and violent comics.
Part of it was the pop culture movement of the times, when you can see the similar things in action movies. You get more and more of the scary and gritty approach, the "Terminator" style.
It was the point when the audience became almost entirely people over 20, those who had read a ton of comics when they were younger and grew tired of the old templates. They wanted to be startled.
Q: Where are comics going now?
A: The big superheroes – Superman, Batman, the Avengers – aren't changing much. Not that much inventive stuff is being done. It's in a conservative phase since it's so much being driven by the movies. What you see on the screen is similar to what you see in the comics.
There's also a movement toward more lightness which shows up in things like the "Avengers" movie, "Iron Man" and "Thor" – more of a sense of the superhero as light and funny as opposed to dark and haunting.
Q: What else is changing?
A: One of the great things about comics is how they've been such an easy-entry and democratic field.
It's always been so easy to get work out in comic-book form that you couldn't get out as a movie. The gatekeepers tend to be loose and new and untutored talent can get out there. That's increasing as web comics become more popular. Eventually what they're pioneering will be reflected by Marvel and DC.
Q: Superheroes like Batman and Superman have been around just about forever. Are any new ones being developed that could have staying power?
A: Spider-Man and X-Men are about 50 years old and those are the most recent popular superhero creations. I don't see anyone really glomming onto new superheroes.
There is this fascination with old heroes who have been around for longer than many of the fans have been alive. They have almost a mythological quality because they have been around forever, but it's exciting to see them re-injected into the present.
Q: Is this a good thing?
A: It's nice to have a sense there are these heroes who have been there for a long time and link us all the way back to World War II and the Depression. Past generations knew the same heroes, and that's a good thing.