Whether it is stereotypical or not, for most people the term “comic book” is drenched in the nostalgic scent of super-heroes. Portraying the everyday theme of good versus evil, shedding light on the sights of spandex and capes, and inspiring others with messages of hope, super-heroes have been evident in entertainment sense the early days of World War II. Though evident, the comic book super-hero did face hardship early in its career. The late 1940s and early 1950s proved to be a testing era for the genre with the combination of a fading interest and real world stories being told within the medium; it was a drought for our costumed adventurers. But living to win the good fight, super-heroes survived the entertainment slump, progressed into the silver age, and continue to prosper today. Now, let us step back and ask the question: What if the comic book super-hero did not survive the drought?
Now, looking back at the publishing history of comics, it seems that a majority of the tales told have involved the character type of the super-hero. What types of stories would be told within comics without the super-hero architecture? For some it is hard to even imagine comic book stories not involving super-heroes because the genre is the absolute trademark of the medium. Without super-heroes on the scene, creative focus could have fallen more towards the science fiction, horror, and crime noir side of storytelling. True, the Comics Code hindered the development of these genres, but let us not focus on that factor right now. Imagine these genres endure, and they step into the 1960s as the mainstream comic books found in mom and pop stores all across the nation. These new genres would allow for a more realistic sense of storytelling, especially within the down-to-earth crime comics of the day. Also, with this down-to-earth feel, it is quite possible that they would attract different types of authors/artists. To think, an artist may wish to record the events of a politician or a historical figure’s life in a biographical comic book. Maybe they would become common practice? Envision walking into your local comic shop, picking up the latest issue of Jesse James: American Criminal, and discussing it online later that evening. In the absence of super-heroes, it is certain that comics as a medium would be a vastly different landscape for storytelling.
Without the iconic stature of super-heroes, would either Marvel or DC exist? Both companies did hold existence in the days of the war (Note: Marvel was called Timely); both companies formed together to birth the Golden Age, yet the super-hero genre was their treasure trove. It would have not been impossible for either company to adapt to popular demand and have produced the genres in question (Noir, Science Fiction, Horror, etc). The true matter of the question is whether either company would still occupy a key spot in the marketplace and hold rights to iconic characters in pop culture. If these genres were to survive a Comics Code, it is also quite possible that EC (Entertaining Comics) may have survived and have provided competition against Marvel (Timely) or DC. Also as a comics fan, a reader would have to consider the existence of a large piece to Marvel and DC comics: continuity. It is possible for the matter to exist with noir or horror genres but could it be as intricate as current Marvel or DC continuity? As a fan, I seriously doubt it, unless a story universe could be created to house such genres, company spanning events could take place, and a strict love and observation could occur under the readers as you see in fanboys today. Marvel or DC may continue to exist producing the genres in question, but I do not see them holding a position as they currently do; I see the situation in question forming a very open market shared by many different publishers.
Having an industry housing a spread of different genres, it is certain that comics would attract a whole other audience. Let’s face it, super-hero comics may not be everyone’s cup of tea. To some, they may carry a child-like stereotype or for others they may just not be that exciting. But, if the comic book industry offered a selection of different genres, the industry would have greater chances of picking up new readers. The argument could also be made that comics as a medium may be taken seriously for the vast storytelling possibilities: instead of the stereotypical thought that only super-hero stories can take place within comic books. This opens up the gateway for literary authors wanting to experiment, and comics possibly being adopted under the term “literature”.
Super-heroes dominate the industry as of present time, but there was a period when crime, horror, and science fiction comics were the main interest. Even if all of these genres could co-exist and share a “mainstream” spotlight, comics would be an entirely different landscape. Yet, just as in story, the super-hero archetype is the one to stand victorious and grab all of the attention. As a fan digesting this topic, I have to wonder if creativity is possibly being held back on a leash of super-heroics in an industry dominated by the genre.
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Tags: Other Genre Comics, Teenage Wasteland
M-Theory packs a fistful of classic science fiction attributes with its reminiscent EC Comics feel, harkening back to the days of Weird Science. Aliens, Nazis from outer space, and parallel worlds hallmark this first issue written by Dwight L. MacPherson and Bruce Brown with artwork by Mike Barentine. The book, published under Image Comics’ Shadowline Productions, offers nothing but entertainment value with its sense of pure storytelling pushed by its artwork. M-Theory portrays the fear of the unknown carried by a 1950s society as strange events occur all across the galaxy. Yet, the experiment practiced by two different scientists may seemingly be brought together to solve the mystery shrouding these events.
The adventure concludes this month as the Stellar Rangers rise up from the intensity of battle, close in on their contract, and question the morals of heroics. The trail of a corporate kidnapping narrows as Jessie Garrett, Tsumi, and Panzer strive past the squadron of robotic Crechbabies and put the beat down on the master-mind of a black market organ theft unit. Yet, when the target of the contract is in their grasp, leader Jessie Garrett is faced with a back-breaking decision that forces her conscious to contemplate the meaning of her mercenary career. Written by Garan Madeiros and Charles Shell and drawn by Ariel Padilla, this creative team knows exactly how to slam the reader with non-stop adventure and tug at their emotions with thought-provoking character moments.
LOS ANGELES (September 17, 2008) - So maybe you didn’t win one of the auctions for The Hero Initiative’s fabulous original Hulk #1 covers. Now’s your chance to “own” every cover!
