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Wikipedia

Comic book

A comic book, also called comicbook,[1][2] comic magazine or (in the United Kingdom and Ireland) 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 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 century.
A common comic-book cover format displays the issue number, date, price and publisher along with an illustration and cover copy that may include a story's title.

"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 of 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 interweaving of drawings and the written word had been pioneered by, among others, William Blake (1757 - 1857) in works such as Blake's "The Descent Of Christ" (1804 - 1820).

The first modern (American style) comic book, Famous Funnies, was released in the US in 1934 and was a reprinting of earlier newspaper humor comic strips, which had established many of the story-telling devices used in comics.[3] 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),[4] with annual sales of 1.9 billion manga books (tankōbon volumes and manga magazines) in Japan, equivalent to 15 issues per person.[5] 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.[6][7] The comic book market in the United States and Canada was valued at $1.09 billion in 2016.[8] As of 2017, the largest comic book publisher in the United States is manga distributor Viz Media, followed by DC Comics and Marvel Comics the original feature full length special edition franchises including Superman, Batman, Wonder Woman, Spider-Man, the Incredible Hulk and the X-Men.[9] The best-selling comic book categories in the US as of 2019 are juvenile children's fiction at 41%, manga at 28% and superhero comics at 10% of the market.[10] 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.[11]

Structure

Comic books are reliant on their organization and appearance. Authors largely focus on the frame of the page, size, orientation, and panel positions. These characteristic aspects of comic books are necessary in conveying the content and messages of the author. The key elements of comic books include panels, balloons (speech bubbles), text (lines), and characters. Balloons are usually convex spatial containers of information that are related to a character using a tail element. The tail has an origin, path, tip, and pointed direction. Key tasks in the creation of comic books are writing, drawing, and coloring. There are many technological formulas used to create comic books, including directions, axes, data, and metrics. Following these key formatting procedures is the writing, drawing, and coloring.[12] 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.[13][14]

American comic books

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,[15] 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".[16] 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'.[17] The introduction of Jerry Siegel and Joe Shuster's Superman in 1938 turned comic books into a major industry[18] 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.[19]

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.[20] 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).[21][22] 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.[23] The Modern Age of Comic Books runs from the mid-1980s to the present day.[24]

A notable event in the history of the American comic book came with psychiatrist Fredric Wertham's criticisms of the medium in his book Seduction of the Innocent (1954), which prompted the American Senate Subcommittee on Juvenile Delinquency to investigate comic books. Wertham claimed that comic books were responsible for an increase in juvenile delinquency, as well as potential influence on a child's sexuality and morals.[25] In response to attention from the government and from the media, the US comic book industry set up the Comics Magazine Association of America.[26] 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.[27] The Code was made formally defunct in November 2011.

Underground comic books

In the late 1960s and early 1970s, a surge of creativity emerged in what became known as underground comics. 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][28] 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.[28]

Frank Stack's The Adventures of Jesus, published under the name Foolbert Sturgeon,[29][30] has been credited as the first underground comic;[29][30] while R. Crumb and the crew of cartoonists who worked on Zap Comix popularized the form.

Alternative comics

The rise of comic book specialty stores in the late 1970s created/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 American magical 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,[31] despite reaching an even more limited audience than the small press.

Small publishers regularly releasing titles include Avatar Press, Hyperwerks, Raytoons, and Terminal Press, buoyed by such advances in printing technology as digital print-on-demand.

Graphic novels

 
The Centers for Disease Control and Prevention published this instructional graphic novel in 2018 to keep youth from spreading infectious diseases

In 1964, Richard Kyle coined the term "graphic novel".[32]

Precursors of the form existed by the 1920s, which saw a revival of the medieval woodcut tradition by Belgian Frans Masereel,[33] 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 (<https://digitalcomicmuseum.com/index.php?dlid=8272>). The magazine never reached a second issue.

In 1950 St. John Publications produced the digest-sized, adult-oriented "picture novel" It Rhymes with Lust, a 128-page digest by pseudonymous writer "Drake Waller" (Arnold Drake and Leslie Waller), penciler Matt Baker and inker Ray Osrin, touted as "an original full-length novel" on its cover. "It Rhymes with Lust" is also available to read online in the Digital Comic Museum (<https://digitalcomicmuseum.com/index.php?dlid=27911>)>

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.

Digital comics

Market size

In 2017, the comic book market size for North America was just over $1 billion 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 size increased by 12% in 2020 to reach USD 8.49 billion. In 2021, the annual valuation of the market amounted to USD 9.21 billion. The popularity of the product is soaring across the world, led by collaborative efforts being made between brands to deliver more appealing comic content.[35]

Comic book collecting

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.[26]

Comic book collectors are often lifelong enthusiasts of the comic book stories, and they usually focus on particular heroes and attempt to assemble the entire run of a title. Comics are published with a sequential number. The first issue of a long-running comic book series is commonly the rarest and most desirable to collectors. The first appearance of a specific character, however, might be in a pre-existing title. For example, Spider-Man's first appearance was in Amazing Fantasy #15. New characters were often introduced this way and did not receive their own titles until there was a proven audience for the hero. As a result, comics that feature the first appearance of an important character will sometimes be even harder to find than the first issue of a character's own title.

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$1 million as of December 2010, 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 $3.2 million, for a 9.0 copy.[39]

Misprints, promotional comic-dealer incentive printings, and issues with extremely low distribution also generally have scarcity value. 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) began to "slab" comics, encasing them in thick plastic and giving them a numeric grade. Since then, other grading companies have arisen. Because condition is important to the value of rare comics, the idea of grading by a company that does not buy or sell comics seems like a good one. However, there is some controversy about whether this grading service is worth the high cost, and whether it is a positive development for collectors, or if it primarily services speculators who wish to make a quick profit trading in comics as one might trade in stocks or fine art. Comic grading has created valuation standards that online price guides such as GoCollect and GPAnalysis have used to report on real-time market values.

The original artwork pages from comic books are also collected, and these are perhaps the rarest of all comic book collector's items, as there is only one unique page of artwork for each page that was printed and published. These were created by a writer, who created the story; a pencil artist, who laid out the sequential panels on the page; an ink artist, who went over the pencil with pen and black ink; a letterer, who provided the dialogue and narration of the story by hand lettering each word; and finally a colorist, who added color as the last step before the finished pages went to the printer.

When the original pages of artwork are returned by the printer, they are typically given back to the artists, who sometimes sell them at comic book conventions, or in galleries and art shows related to comic book art. The original pages of DC and Marvel the first appearances of such legendary characters as Superman, Batman, Wonder Woman, Hulk and Spider-Man are considered priceless.

History of race in U.S. comic books

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 Captain Marvel Adventures, a character named Steamboat was an amalgamation of some of the worst stereotypes of the time. The Writers' War Board did not ask for any change with this character. "Eliminating Steamboat required the determined efforts of a black youth group 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 faced some of the same treatment in comics as black characters did. They were dehumanized and the narrative being pushed was that they were "incompetent and subhuman."[43] "A 1944 issue of the United States Marines included a narrative entitled The Smell of the Monkeymen. The story depicts Japanese soldiers as simian brutes whose sickening body odor betrays their concealed locations."[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 ] 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]

East Asian comics

Japanese manga

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. Outside Japan, the word is typically used to refer to comics originally published in the country.

Dōjinshi

Dōjinshi (同人誌, fan magazine), fan-made Japanese comics, operate in a far larger market in Japan than the American "underground comics" market; the largest dōjinshi fair, Comiket, attracts 500,000 visitors twice a year.[44]

Korean manhwa

Korean manhwa has quickly gained popularity outside Korea in recent times as a result of the Korean Wave. The manhwa industry has suffered through two crashes and strict censorship since its early beginnings as a result of the Japanese occupation of the peninsula which stunts the growth of the industry but has now started to flourish thanks in part to the internet and new ways to read manhwa whether on computers or through smartphones. In the past manhwa would be marketed as manga outside the country in order to make sure they would sell well but now that is no longer needed since more people are now more knowledgeable about the industry and Korean culture.

Webtoons

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.

Chinese manhua

Vietnamese truyện tranh

European comics

Franco-Belgian comics

 
René Goscinny (1926–1977), writer of the Astérix comic book series.

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]

British comics

 
Cover to 27 December 1884 edition of Ally Sloper's Half Holiday. Ally Sloper is regarded as the first recurring character in comics.[46]

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.

In the 1980s, a resurgence of British writers and artists gained prominence in mainstream comic books, which was dubbed the "British Invasion" in comic book history.[54] These writers and artists brought with them their own mature themes and philosophy such as anarchy, controversy and politics common in British media. These elements would pave the way for mature and "darker and edgier" comic books and jump start the Modern Age of Comics.[55] Writers included Alan Moore, famous for his V for Vendetta, From Hell, Watchmen, Marvelman, and The League of Extraordinary Gentlemen;[56] Neil Gaiman with The Sandman mythos and Books of Magic; Warren Ellis, creator of Transmetropolitan and Planetary; and others such as Mark Millar, creator of Wanted and Kick-Ass. The comic book series John Constantine, Hellblazer, which is largely set in Britain and starring the magician John Constantine, paved the way for British writers such as Jamie Delano.[57]

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.

On 19 March 2012, the British postal service, the Royal Mail, released a set of stamps depicting British comic book characters and series.[58] The collection featured The Beano, The Dandy, Eagle, The Topper, Roy of the Rovers, Bunty, Buster, Valiant, Twinkle and 2000 AD.[58]

Spanish comics

It has been stated that the 13th century Cantigas de Santa María could be considered as the first Spanish "comic", although comic books (also known in Spain as historietas or tebeos) made their debut around 1857. The magazine TBO was influential in popularizing the medium. After the Spanish Civil War, the Franco regime imposed strict censorship in all media: superhero comics were forbidden and as a result, comic heroes were based on historical fiction (in 1944 the medieval hero El Guerrero del Antifaz was created by Manuel Gago and another popular medieval hero, Capitán Trueno, was created in 1956 by Víctor Mora and Miguel Ambrosio Zaragoza). Two publishing houses — Editorial Bruguera and Editorial Valenciana — dominated the Spanish comics market during its golden age (1950–1970). The most popular comics showed a recognizable style of slapstick humor (influenced by Franco-Belgian authors such as Franquin): Escobar's Carpanta and Zipi y Zape, Vázquez's Las hermanas Gilda and Anacleto, Ibáñez's Mortadelo y Filemón and 13. Rue del Percebe or Jan's Superlópez. After the end of the Francoist period, there was an increased interest in adult comics with magazines such as Totem, El Jueves, 1984, and El Víbora, and works such as Paracuellos by Carlos Giménez.

Spanish artists have traditionally worked in other markets finding great success, either in the American (e.g., Eisner Award winners Sergio Aragonés, Salvador Larroca, Gabriel Hernández Walta, Marcos Martín or David Aja), the British (e.g., Carlos Ezquerra, co-creator of Judge Dredd) or the Franco-Belgian one (e.g., Fauve d'Or winner Julio Ribera or Blacksad authors Juan Díaz Canales and Juanjo Guarnido).

Italian comics

 
Hugo Pratt (1927–1995), author of the Corto Maltese comic book series.

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.[59]

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.

Comics in other countries

Distribution

Distribution has historically been a problem for the comic book industry with many mainstream retailers declining to carry extensive stocks of the most interesting and popular comics. The smartphone and the tablet have turned out to be an ideal medium for online distribution.[60]

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.[61]

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

Many libraries have extensive collections of comics in the form of graphic novels. This is a convenient way for many in the public to become familiar with the medium.[62]

Guinness World Records

In 2015, the Japanese manga artist Eiichiro 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".[63]

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 cm by 99.8 cm (2 ft 3.51 in by 3 ft 3.29 in). The 18-page comic book had a print run of 120 copies.[64]

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."[65] 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.[66][67]

See also

References

  1. ^ Scott Shaw!, Mike Kazaleh, "Secret Agent Orange", the Annoying Orange #1, New York: Papercutz, December 2012, pp. 61–62.
  2. ^ Mila Bongco, Reading Comics: Language, Culture, and the Concept of the Superhero in Comic Books, Routledge, 2015 (first published in 2000), p. xv.
  3. ^ A History of the Comic Book 25 May 2013 at the Wayback Machine. Retrieved 16 July 2014.
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Further reading

  • Kern, Adam L. (2006). Manga from the Floating World: Comic book Culture and the Kibyôshi of Edo Japan. Cambridge, Massachusetts: Harvard University Asia Center. ISBN 978-0-674-02266-9.
  • Inge, M. Thomas (1979). "Comics as Culture". Journal of Popular Culture. 12 (631).
  • Martin, Tim (2 April 2009). "How Comic Books Became Part of the Literary Establishment". Telegraph. Archived from the original on 11 January 2022.

External links

  • Comic book Reference Bibliographic Datafile
  • Sequart Research & Literacy Organization
  • at the University of Missouri

comic, book, this, article, about, periodicals, containing, comics, comics, medium, comics, comic, book, also, called, comicbook, comic, magazine, united, kingdom, ireland, simply, comic, publication, that, consists, comics, form, sequential, juxtaposed, panel. This article is about periodicals containing comics For the comics art medium see Comics A comic book also called comicbook 1 2 comic magazine or in the United Kingdom and Ireland 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 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 century A common comic book cover format displays the issue number date price and publisher along with an illustration and cover copy that may include a story s title 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 of 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 interweaving of drawings and the written word had been pioneered by among others William Blake 1757 1857 in works such as Blake s The Descent Of Christ 1804 1820 The first modern American style comic book Famous Funnies was released in the US in 1934 and was a reprinting of earlier newspaper humor comic strips which had established many of the story telling devices used in comics 3 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 4 with annual sales of 1 9 billion manga books tankōbon volumes and manga magazines in Japan equivalent to 15 issues per person 5 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 6 7 The comic book market in the United States and Canada was valued at 1 09 billion in 2016 8 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 the original feature full length special edition franchises including Superman Batman Wonder Woman Spider Man the Incredible Hulk and the X Men 9 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 10 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 11 Contents 1 Structure 2 American comic books 2 1 Underground comic books 2 2 Alternative comics 2 3 Graphic novels 2 4 Digital comics 2 5 Market size 2 6 Comic book collecting 2 7 History of race in U S comic books 3 East Asian comics 3 1 Japanese manga 3 2 Dōjinshi 3 3 Korean manhwa 3 4 Webtoons 3 5 Chinese manhua 3 6 Vietnamese truyện tranh 4 European comics 4 1 Franco Belgian comics 4 2 British comics 4 3 Spanish comics 4 4 Italian comics 5 Comics in other countries 6 Distribution 6 1 Digital distribution 7 Comic collections in libraries 8 Guinness World Records 9 See also 10 References 11 Further reading 12 External linksStructure EditMain article Comics Terminology Comic books are reliant on their organization and appearance Authors largely focus on the frame of the page size orientation and panel positions These characteristic aspects of comic books are necessary in conveying the content and messages of the author The key elements of comic books include panels balloons speech bubbles text lines and characters Balloons are usually convex spatial containers of information that are related to a character using a tail element The tail has an origin path tip and pointed direction Key tasks in the creation of comic books are writing drawing and coloring There are many technological formulas used to create comic books including directions axes data and metrics Following these key formatting procedures is the writing drawing and coloring 12 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 13 14 American comic books EditMain article American comic book 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 15 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 16 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 17 The introduction of Jerry Siegel and Joe Shuster s Superman in 1938 turned comic books into a major industry 18 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 19 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 20 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 21 22 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 23 The Modern Age of Comic Books runs from the mid 1980s to the present day 24 A notable event in the history of the American comic book came with psychiatrist Fredric Wertham s criticisms of the medium in his book Seduction of the Innocent 1954 which prompted the American Senate Subcommittee on Juvenile Delinquency to investigate comic books Wertham claimed that comic books were responsible for an increase in juvenile delinquency as well as potential influence on a child s sexuality and morals 25 In response to attention from the government and from the media the US comic book industry set up the Comics Magazine Association of America 26 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 27 The Code was made formally defunct in November 2011 Underground comic books Edit Main article Underground comix In the late 1960s and early 1970s a surge of creativity emerged in what became known as underground comics 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 28 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 28 Frank Stack s The Adventures of Jesus published under the name Foolbert Sturgeon 29 30 has been credited as the first underground comic 29 30 while R Crumb and the crew of cartoonists who worked on Zap Comix popularized the form Alternative comics Edit Main article Alternative comics The rise of comic book specialty stores in the late 1970s created 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 American magical 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 31 despite reaching an even more limited audience than the small press Small publishers regularly releasing titles include Avatar Press Hyperwerks Raytoons and Terminal Press buoyed by such advances in printing technology as digital print on demand Graphic novels Edit The Centers for Disease Control and Prevention published this instructional graphic novel in 2018 to keep youth from spreading infectious diseases Main article Graphic novel In 1964 Richard Kyle coined the term graphic novel 32 Precursors of the form existed by the 1920s which saw a revival of the medieval woodcut tradition by Belgian Frans Masereel 33 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 lt https digitalcomicmuseum com index php dlid 8272 gt The magazine never reached a second issue In 1950 St John Publications produced the digest sized adult oriented picture novel It Rhymes with Lust a 128 page digest by pseudonymous writer Drake Waller Arnold Drake and Leslie Waller penciler Matt Baker and inker Ray Osrin touted as an original full length novel on its cover It Rhymes with Lust is also available to read online in the Digital Comic Museum lt https digitalcomicmuseum com index php dlid 27911 gt gt 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 Digital comics Edit See also Digital comic Market size Edit In 2017 the comic book market size for North America was just over 1 billion 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 size increased by 12 in 2020 to reach USD 8 49 billion In 2021 the annual valuation of the market amounted to USD 9 21 billion The popularity of the product is soaring across the world led by collaborative efforts being made between brands to deliver more appealing comic content 35 Comic book collecting Edit Main article Comic book collecting 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 26 Comic book collectors are often lifelong enthusiasts of the comic book stories and they usually focus on particular heroes and attempt to assemble the entire run of a title Comics are published with a sequential number The first issue of a long running comic book series is commonly the rarest and most desirable to collectors The first appearance of a specific character however might be in a pre existing title For example Spider Man s first appearance was in Amazing Fantasy 15 New characters were often introduced this way and did not receive their own titles until there was a proven audience for the hero As a result comics that feature the first appearance of an important character will sometimes be even harder to find than the first issue of a character s own title 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 1 million as of December 2010 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 2 million for a 9 0 copy 39 Misprints promotional comic dealer incentive printings and issues with extremely low distribution also generally have scarcity value 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 began to slab comics encasing them in thick plastic and giving them a numeric grade Since then other grading companies have arisen Because condition is important to the value of rare comics the idea of grading by a company that does not buy or sell comics seems like a good one However there is some controversy about whether this grading service is worth the high cost and whether it is a positive development for collectors or if it primarily services speculators who wish to make a quick profit trading in comics as one might trade in stocks or fine art Comic grading has created valuation standards that online price guides such as GoCollect and GPAnalysis have used to report on real time market values The original artwork pages from comic books are also collected and these are perhaps the rarest of all comic book collector s items as there is only one unique page of artwork for each page that was printed and published These were created by a writer who created the story a pencil artist who laid out the sequential panels on the page an ink artist who went over the pencil with pen and black ink a letterer who provided the dialogue and narration of the story by hand lettering each word and finally a colorist who added color as the last step before the finished pages went to the printer When the original pages of artwork are returned by the printer they are typically given back to the artists who sometimes sell them at comic book conventions or in galleries and art shows related to comic book art The original pages of DC and Marvel the first appearances of such legendary characters as Superman Batman Wonder Woman Hulk and Spider Man are considered priceless History of race in U S comic books Edit This section may require cleanup to meet Wikipedia s quality standards The specific problem is re write to make less reliant on quotes better fit WP s style Please help improve this section if you can July 2019 Learn how and when to remove this template message 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 Captain Marvel Adventures a character named Steamboat was an amalgamation of some of the worst stereotypes of the time The Writers War Board did not ask for any change with this character Eliminating Steamboat required the determined efforts of a black youth group 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 faced some of the same treatment in comics as black characters did They were dehumanized and the narrative being pushed was that they were incompetent and subhuman 43 A 1944 issue of the United States Marines included a narrative entitled The Smell of the Monkeymen The story depicts Japanese soldiers as simian brutes whose sickening body odor betrays their concealed locations 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 East Asian comics EditJapanese manga Edit Main article Manga 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 Outside Japan the word is typically used to refer to comics originally published in the country Dōjinshi Edit Main article Dōjinshi Dōjinshi 同人誌 fan magazine fan made Japanese comics operate in a far larger market in Japan than the American underground comics market the largest dōjinshi fair Comiket attracts 500 000 visitors twice a year 44 Korean manhwa Edit Main article Manhwa Korean manhwa has quickly gained popularity outside Korea in recent times as a result of the Korean Wave The manhwa industry has suffered through two crashes and strict censorship since its early beginnings as a result of the Japanese occupation of the peninsula which stunts the growth of the industry but has now started to flourish thanks in part to the internet and new ways to read manhwa whether on computers or through smartphones In the past manhwa would be marketed as manga outside the country in order to make sure they would sell well but now that is no longer needed since more people are now more knowledgeable about the industry and Korean culture Webtoons Edit Main article Webtoons 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 Chinese manhua Edit Main article Manhua Vietnamese truyện tranh Edit Main article Truyện tranhEuropean comics EditMain article European comics Franco Belgian comics Edit Main article Bande dessinee Rene Goscinny 1926 1977 writer of the Asterix comic book series France and Belgium have a long tradition in comics and comic books often called BDs an abbreviation of bandes dessinees 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 British comics Edit Main article British comics Cover to 27 December 1884 edition of Ally Sloper s Half Holiday Ally Sloper is regarded as the first recurring character in comics 46 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 amp 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 In the 1980s a resurgence of British writers and artists gained prominence in mainstream comic books which was dubbed the British Invasion in comic book history 54 These writers and artists brought with them their own mature themes and philosophy such as anarchy controversy and politics common in British media These elements would pave the way for mature and darker and edgier comic books and jump start the Modern Age of Comics 55 Writers included Alan Moore famous for his V for Vendetta From Hell Watchmen Marvelman and The League of Extraordinary Gentlemen 56 Neil Gaiman with The Sandman mythos and Books of Magic Warren Ellis creator of Transmetropolitan and Planetary and others such as Mark Millar creator of Wanted and Kick Ass The comic book series John Constantine Hellblazer which is largely set in Britain and starring the magician John Constantine paved the way for British writers such as Jamie Delano 57 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 On 19 March 2012 the British postal service the Royal Mail released a set of stamps depicting British comic book characters and series 58 The collection featured The Beano The Dandy Eagle The Topper Roy of the Rovers Bunty Buster Valiant Twinkle and 2000 AD 58 Spanish comics Edit Main article Spanish comicsIt has been stated that the 13th century Cantigas de Santa Maria could be considered as the first Spanish comic although comic books also known in Spain as historietas or tebeos made their debut around 1857 The magazine TBO was influential in popularizing the medium After the Spanish Civil War the Franco regime imposed strict censorship in all media superhero comics were forbidden and as a result comic heroes were based on historical fiction in 1944 the medieval hero El Guerrero del Antifaz was created by Manuel Gago and another popular medieval hero Capitan Trueno was created in 1956 by Victor Mora and Miguel Ambrosio Zaragoza Two publishing houses Editorial Bruguera and Editorial Valenciana dominated the Spanish comics market during its golden age 1950 1970 The most popular comics showed a recognizable style of slapstick humor influenced by Franco Belgian authors such as Franquin Escobar s Carpanta and Zipi y Zape Vazquez s Las hermanas Gilda and Anacleto Ibanez s Mortadelo y Filemon and 13 Rue del Percebe or Jan s Superlopez After the end of the Francoist period there was an increased interest in adult comics with magazines such as Totem El Jueves 1984 and El Vibora and works such as Paracuellos by Carlos Gimenez Spanish artists have traditionally worked in other markets finding great success either in the American e g Eisner Award winners Sergio Aragones Salvador Larroca Gabriel Hernandez Walta Marcos Martin or David Aja the British e g Carlos Ezquerra co creator of Judge Dredd or the Franco Belgian one e g Fauve d Or winner Julio Ribera or Blacksad authors Juan Diaz Canales and Juanjo Guarnido Italian comics Edit Main article Italian comics Hugo Pratt 1927 1995 author of the Corto Maltese comic book series 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 59 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 Comics in other countries EditSee also List of comics by countryDistribution EditDistribution has historically been a problem for the comic book industry with many mainstream retailers declining to carry extensive stocks of the most interesting and popular comics The smartphone and the tablet have turned out to be an ideal medium for online distribution 60 Digital distribution Edit 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 61 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 EditMany libraries have extensive collections of comics in the form of graphic novels This is a convenient way for many in the public to become familiar with the medium 62 Guinness World Records EditIn 2015 the Japanese manga artist Eiichiro 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 63 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 Monica O Maior Gibi do Mundo published by Panini Comics Brasil and Mauricio de Sousa Producoes The comic book measures 69 9 cm by 99 8 cm 2 ft 3 51 in by 3 ft 3 29 in The 18 page comic book had a print run of 120 copies 64 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 65 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 66 67 See also Edit Comics portalCartoon Comic book archive Comic book therapy Comics studies Comics vocabulary Comparison of image viewers List of best selling comic series List of best selling manga WebcomicReferences Edit Scott Shaw Mike Kazaleh Secret Agent Orange the Annoying Orange 1 New York Papercutz December 2012 pp 61 62 Mila Bongco Reading Comics Language Culture and the Concept of the Superhero in Comic Books Routledge 2015 first published in 2000 p xv A History of the Comic Book Archived 25 May 2013 at the Wayback Machine Retrieved 16 July 2014 Schodt Frederik 1996 Dreamland Japan Writings on Modern Manga Berkeley CA Stone Bridge Press pp 19 20 ISBN 978 1 880656 23 5 Manga anime rooted in Japanese history The Indianapolis Star 2 August 1997 Archived from the original on 30 May 2018 Retrieved 29 May 2018 Manga sales top 600 billion yen in 2020 for first time on record The Asahi Shimbun 1 April 2021 Japan s Manga and Comic Industry Hits Record Profits in 2020 Comicbook com 15 March 2021 Gilchrist Michelle 21 July 2017 Growing comic market reached 1 9 billion in 2016 The San Diego Union Tribune Archived from the original on 23 July 2017 Retrieved 28 May 2018 Magulick Aaron 8 October 2017 Viz Manga Sales are Destroying DC Marvel in Comic Market GoBoiano Archived from the original on 10 July 2018 Retrieved 21 August 2018 a href Template Cite news html title Template Cite news cite news a CS1 maint unfit URL link Gramuglia Anthony 19 October 2019 Why Manga amp Comics for Kids Outsell Superheroes Comic Book Resources Retrieved 2 April 2021 French Comics In 2013 It s Not All Asterix But Quite A Bit Is Bleeding Cool Avatar Press 1 January 2014 Archived from the original on 29 July 2018 Retrieved 6 September 2018 Rigaud Christophe 2015 Knowledge driven understanding of images in comic books International Journal on Document Analysis and Recognition 18 3 199 221 doi 10 1007 s10032 015 0243 1 S2CID 12589544 Phoenix Jack 2020 Maximizing the Impact of Comics in Your Library Graphic Novels Manga and More Santa Barbara California pp 4 12 ISBN 978 1 4408 6886 3 OCLC 1141029685 Kelley Jason 16 November 2020 What s The Difference Between Graphic Novels and Trade Paperbacks How To Love Comics Retrieved 4 April 2021 The Adventures of M Obadiah Oldbuck Archived 11 February 2015 at the Wayback Machine at the Dartmouth College library Goulart Ron 2004 Comic Book Encyclopedia New York Harper Entertainment ISBN 978 0060538163 Gustave Verbeek Little Lady Lovekins and Old Man Muffaroo Archived 18 January 2019 at the Wayback Machine Goulart Ron 2000 Comic Book Culture An Illustrated History Collectors Press p 43 ISBN 978 1 888054 38 5 Zeman Scott C Amundson Michael A 2004 Atomic Culture How We Learned to Stop Worrying and Love the Bomb Boulder Colorado University Press of Colorado p 11 ISBN 9780870817632 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 CBR News Team 2 July 2007 DC Flashback The Flash Comic Book Resources Archived from 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Comix The Underground Revolution Thunder s Mouth Press p 34 ISBN 978 1 56025 572 7 americancomics www ocf berkeley edu Archived from the original on 2 February 2017 Retrieved 26 January 2017 In 1964 Richard Kyle Coined The Term Graphic Novel Global Book Writers globalbookwriters Archived from the original on 10 August 2021 Retrieved 7 July 2021 Sabin Roger Adult Comics An Introduction Routledge New Accents Library Collection 2005 p 291 ISBN 978 0 415 29139 2 ISBN 978 0 415 29139 2 Comics and graphic novel sales down 6 5 in 2017 Comichron 13 July 2018 Archived from the original on 16 July 2018 Retrieved 16 July 2018 Insights Fortune Business 27 January 2022 Comic Book Market Expected to Reach USD 12 81 billion by 2028 Comic Book Industry Share Business Statistics Latest Trends and Analysis by Fortune Business Insights GlobeNewswire News Room Retrieved 3 March 2022 a href Template Cite web html title Template Cite web cite web a first has generic name help Motion Picture Funnies Weekly 1 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edu Retrieved 30 June 2019 a b c d e f g h i j k l m n Hirsch Paul 2014 This Is Our Enemy The Writers War Board and Representations of Race in Comic Books 1942 1945 Pacific Historical Review 83 3 448 486 doi 10 1525 phr 2014 83 3 448 ISSN 0030 8684 JSTOR 10 1525 phr 2014 83 3 448 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 La veritable histoire des mots bande dessinee Comixtrip in French 15 September 2015 Retrieved 17 June 2022 Birch Dinah 24 September 2009 The Oxford Companion to English Literature Oxford Oxford University Press p 240 Top hats off to Marie Duval a lost Victorian cartoonist sensation The Guardian Archived from the original on 22 November 2018 Retrieved 21 November 2018 John Sringhall July 1994 Horror Comics The Nasties of the 1950s History Today 44 7 Archived from the original on 4 May 2012 Retrieved 23 October 2010 Penny dreadfuls the Victorian equivalent of video 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journal help Peter Sanderson The British Invasion Part 3 Neil Gaiman amp Swamp Thing Sequart Organization Archived from the original on 4 November 2015 Retrieved 28 September 2014 a href Template Cite journal html title Template Cite journal cite journal a Cite journal requires journal help 29 May 2013 Please Sir I Want Some Moore How Alan Moore transformed American comics Archived 3 February 2011 at the Wayback Machine by Douglas Wolk in Slate December 2003 The Writers of Hellblazer Interviews with Jamie Delano and Garth Ennis Tabula Rasa Archived from the original on 25 June 2007 Retrieved 27 July 2014 a b Beano s Dennis the Menace on Royal Mail comic stamps BBC News 19 March 2012 Archived from the original on 20 March 2012 Retrieved 19 March 2012 Quanto vendono i fumetti Bonelli I dati 2014 16 June 2014 Archived from the original on 30 December 2018 Retrieved 15 November 2018 Gregory Schmidt 21 July 2013 Embracing Tablets Comic Book Publishers Cash in on a Digital Revolution The New 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Manga from the Floating World Comic book Culture and the Kibyoshi of Edo Japan Cambridge Massachusetts Harvard University Asia Center ISBN 978 0 674 02266 9 Inge M Thomas 1979 Comics as Culture Journal of Popular Culture 12 631 Martin Tim 2 April 2009 How Comic Books Became Part of the Literary Establishment Telegraph Archived from the original on 11 January 2022 External links Edit Wikimedia Commons has media related to Comic books Comic book Speculation Reference Comic book Reference Bibliographic Datafile Sequart Research amp Literacy Organization Comic Art Collection at the University of Missouri Collectorism a place for collectors and collectibles Retrieved from https en wikipedia org w index php title Comic book amp oldid 1140828251, wikipedia, wiki, book, books, library,

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