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Jan. 31st, 2004 10:21 pmMy mom got me a chocolate bar, and tiny dolls stole it. Tiny dolls similar to these. I had to shut them in a drawer at one point, but they got out. And then, while I was at Blockbuster's, they stole it. and I came back and wanted chocolate, and it wasn't next to the computer where I left it--I knew immediately to look in the shoebox where they've set up camp.
Yes, I went to Blockbuster's. For the second time in my life, I think. Was much annoyed--not a very good selection. Utter lack of Adventures of Priscilla: Queen of the Desert. Damnation! And also, two Alan Rickman movies, but not the ones I wanted. I ended up with Rasputin--horrible facial hair, but I figured it would have more speaking lines than the Quigley one, which also has a bad moustache. However, i feel that after reading Hellboy, watching Alan Rickman as Rasputin will tear me up more than watching him as Snape. Agh. I must find a better source of strange movies that people tend not to watch. >.>
However, I did find Shop Around the Corner, one I wanted from the Jimmy Stewart phase. It's the base for "You've Got Mail". ^_^ They didn't have F.B.I. Story though. :(
Anyway, this whole renting videos thing is very strange to me--my mom's a librarian, so usually we just have her supply us with all our video needs. Ah well.
Had I had more time, I could have reminded myself of the ones I wanted to look for beforehand. I'll have to make another trip. They might have Blow Dry. Hopefully I've gained some Blockbuster inertia now.
So now, for anyone who's interested, I'll post my english paper. I'll try to remember to italicize and fix up and all that everything that will become undone when I copy it. I actually remember that I started italicizing comics titles at first, and then forgot. . . but she didn't notice.
I apologize if it turns out the whole thing is vastly inaccurate from the point of view of someone who actually knows what they were talking about. I did my best, and I definitely learned a lot, but at the same time I knew that if something was given too much importance, and something else was skipped (and I'm not just talking about DC and Marvel) because I knew my english teacher wouldn't know. I did try, though, so hopefully. . .
Comic books in the form that they are most commonly seen today first appeared during the thirties, although some form of graphic storytelling has been around since the time of the Ancient Egyptians (McCloud). This first “era” in the history of comics is commonly known as the Golden Age. At this time, the stories and the art were very simple. Garishly dressed and often strangely named supermen beat up the bad guys, who were often Nazis, but sometimes merely gangsters. Horror titles became popular during the forties, gruesome tales that might still be shocking today, with names such as Tales from the Crypt or Web of Evil (Wright 155-6). These gore-ridden comics helped to bring on an event that nearly ended comic books entirely. The Seduction of Innocence, by Dr. Frederic Wertham, accused comics of causing children to become juvenile delinquents and lead to a Senate investigation against comics in 1953 (Coville). Comic books were attacked as immoral, and in 1954 the Comics Code was put into place (Grineau). The Comics Code Authority’s seal of approval on a comic showed worried parents that the comic followed the code’s ridiculously stringent limitations. It was at this point that the Silver Age began. Many Golden Age heroes were revived, largely under the leadership of DC Comics editor Julius Schwartz (O’Neil, Secret Origins). The Silver Age was a time of superheroes, many of them without distinct personalities, all simply fighting for truth, justice, and most importantly during the Cold War, “The American Way”. It was during this time that Marvel Comics was born, introducing the idea of a different type of superhero. These superheroes were more vulnerable, more human (Wright). This lead to a change in comics, a stray from the simple world of superheroes. By the end of the 1960’s, the Modern Age, or Bronze Age, was beginning, and comic books were changing in new and daring ways.
At the end of the Silver Age, superhero comics began to fade in popularity. The most popular comic was Archie Comics (Santos). The world of comic books then was very different from today. Rather than four main publishers: DC, Marvel, Dark Horse, and Image, and a host of smaller and independently run publishers, comics were published by a wide variety of sources. This included comics about Disney characters, Bob Hope, the Jetsons, and the Twilight Zone, among others (CUFON). In addition to this, DC and Marvel themselves were going through a great deal of changes. The entire comic book industry was suffering. In an attempt to revive a failing genre, the big comic book publishers made innovation to appeal to a new crowd of readers. Comic books expanded and grew. Horror comics had been nearly completely extinguished after the onset of the Comics Code Authority. However, in 1971, the code was made less stringent, allowing a return to such titles as House of Secrets, Swamp Thing, Warlock and Ghost Rider. Even within superhero comics, the heroes changed, the style and quality of writing was different, and the stories had more plot and purpose. Comics were no longer for only little children. An adolescent and adult readership was beginning to be attracted to the medium. Very aptly, this time is known as the beginning of the Modern Age. Comics were beginning to resemble those found today.
Unfortunately, despite all these changes, comic books continued to decline in popularity. They were not what the public at the time was interested in. There were many changes in the titles that were being published. Unfortunately, along with a large number of new or revived titles, there was an even greater number canceled. Many of the classic hero comics that were well-known and popular ended during this time, such as Captain Marvel, Aquaman, and Green Lantern. In addition, this period saw the final death of Western comics, which had been widespread during the fifties, but at this time were largely carried only as reprints by Marvel, and even this was ending (Westerns). The comics that were beginning were starting to become more courageous. DC and Marvel were attempting to make their comic books attractive and interesting in a time when people were not largely interested in comic books, and certainly not interested in the simple superheroes of the Silver Age with their black and white morals and flat personalities. This period also saw the beginning of underground comics (Lima). These reflected the subversive feelings of much of American society at the time. In addition, there was a return to horror comics, as well as comics that dealt with issues of the time.
Popular issues among these topical comics reflected popular issues among American youth culture of the time. Prominent among these were the Vietnam War. One of the comics that dealt with this was also a superhero comic: Hawk and Dove. This only ran from August of ‘68 to June of ‘69, with only 6 issues in that period. The short life of this comic is probably because it was not very enjoyable for the readers. However, it was brave enough to tackle controversial issues, in the form of two brothers, Hank and Don Hall (known in their superhero identities as Hawk and Dove, agents of chaos and order). Hank and Don argued the Vietnam War, and generally war versus peace (Left Wing). Comic books tended to be liberal and antiestablishment (Wright 239). Nothing embodied comics’ new pastime of questioning authority more than a series by Dennis O’Neil and Neal Adams. Now collected in a volume known as Hard-Traveling Heroes, this used a formula similar to that of Hawk and Dove: two contrasting characters in conflict with each other. Angry rebel Green Arrow sets out to show the straight-laced “space cop” Green Lantern, as well as his alien boss, that there were plenty of problems here on Earth, in America, and most importantly, that the people in power weren’t always the “good guys” (Adams, O’Neil). This comic summarizes both the entire shift in the comic book industry, as well as the sentiment of much of America’s youth. Comic books were beginning to shift from the black and white morals of the sixties, and the heroes were beginning to have distinct personalities. The readers of these comics, a more mature group than the audiences of the Silver Age, were interested in questioning authority.
One of the most significant events for the future of comic books that occurred during this period was the loosening of the Comics Code. This took place in 1971. The catalyst for this change was a story about drugs that was published in The Amazing Spider-Man issues #96-98 (Coville). Stan Lee wished to do an anti-drug story, showing the dangers of drug use through a man who jumps off a roof when high on pills. The Comics Code Authority wishes to ignore drug use entirely, and refuses to approve the issue. Instead of giving in, Marvel simply published the story without the CCA’s stamp of approval. After this, it was agreed to revise the code (Wright 239-41). Much of the code remained the same, however, qualifiers were added to many of the restrictions, allowing them to be bypassed at times (Standards). DC Comics also addressed the drug issue very soon after, in a story also written by Dennis O’Neil. Green Arrow’s sidekick, Speedy, was addicted to heroin. In Green Lantern #85-86, a comic book hero is revealed as a hard drug user, and his recovery is also shown (Roy Harper).
There were a number of people who played a vital role in updating the image of comic books and improving their content. The team of Dennis O’Neil and Neal Adams, along with the legendary Jack “The King” Kirby were some of the greatest contributors during the beginning of the Modern Age. Jack Kirby is famous for his dramatic and dynamic art style, helping to make comic books more visually appealing and interesting. Kirby worked with Stan Lee in the ‘50s to create many of the Marvel Comics that helped to trigger many of the changes of the early ‘70s. Simply put, Jack Kirby helped to raise comic books to a whole new level, and is one of the most respected and admired men in comics history. In 1970, Kirby came to DC, where he created an entire new universe, without using anything from the existing DC multi-verse. The story of Jack Kirby’s Fourth World was told in three simultaneous titles, Mister Miracle, New Gods, and Forever People. These were superhero stories, but of a new kind. The scale was very different from the stories seen previously: both vast and very intimate. Kirby’s tales covered interplanetary warfare and moral crises, but also still contained interpersonal relationships and even romance, a rare commodity in a superhero title (Kirby). Dennis O’Neil and Neal Adams are also known for making innovations on a more mainstream plane. They moved comics forward from their campy, corny form of the Silver Age, making them more serious, more interesting, and more worthwhile. Through their work on Green Lantern and Batman, they helped to update comic books for the new, older readers that were being attracted to the medium. Batman was returned to his original darker form, following a stint in the sixties where he was most like the Adam West television show (Daniels). Nearly every speech bubble contained a one-liner, and Batman was more goofy than anything else (Batman). Neal Adams brought a never before seen realism to comics art, which had a great effect on comics artists in the future, including Alex Ross (Kidd, Spear). Says Ross, “Neal Adams changed everything. He defined what realistic, dynamic storytelling in comics would be for all time.” Neal Adams and Dennis O’Neil made a powerful team. Together, their comics addressed serious issues, and were surprisingly ahead of their time.
Although some people call the period of the early 1970’s the Bronze Age, or simply the Post-Silver Age, it is easy to see that the Modern Age is the most fitting and descriptive name for this period. This is a time when comic books began to mature into the form that they now take. The end of the Silver Age marked an opening of comic book readership and subject matter, the two going hand in hand. As the writing became more sophisticated and generally of a higher quality to satisfy a public grown bored with simple superhero comics, a more mature and discerning reader was attracted to the medium. Unfortunately, this was also a time when comic books were simply losing popularity. However, it is partly this loss that caused comics publishers to attempt to change their products. Years that seem like a low point in the history of comics, and were certainly a low point in comic book popularity, actually lead to changes that mmay have saved comic books, and certainly greatly improved them. Comic books began to actually say something, they were not longer purely for entertainment value. The transitional periods are some of the most exciting and important in the history of comic books.
Works Cited
Adams, Neal, and Dennis O’Neil. Hard-Traveling Heroes. New York: DC Comics, 1992.
Batman in the Sixties. New York: DC Comics, 1999.
Coville, Jamie. “The History of Comic Books.” February 16, 2001. Online. <http://www.collectortimes.com/~comichistory/> January 19, 2004.
“CUFON’s Comic Book Cover Gallery.” Online. <http://www.cufon.org/comics/comicsgal1965-9.htm> January 19, 2004.
Daniels, Les. DC Comics: A Celebration of the World’s Favorite Comic Book Heroes. United States: Watson-Guptill, 2003.
Grineau, Joel. “Origin of the Comics Code Authority.” January 23, 1998. Online. <http://www.sideroad.com/comics/column12.html> January 19, 2004.
“History of Comics.” 2001. Online. <http://www.comic-art.com/history/chronol4.htm>January 19, 2004.
Kidd, Chip, and Geoff Spear. Mythology. United States: Pantheon Books, 2003.
Kirby, Jack. Jack Kirby’s Fourth World. New York: DC Comics, 2001.
“Left Wing, Right Wing.” Online. <http://www.geocities.com/cheeksilver/hawkanddove1.htm> January 19, 2004.
Lima, Rafael de Viveiros. “Some History.” 1998. Online. <http://www.geocities.com/soho/5537/hist.htm> January 19, 2004.
McCloud, Scott. Understanding Comics. Perennial, 1994.
O’Neil, Dennis, ed. Secret Origins of the DC Superheroes. United States: Warner Books, 1976.
“Roy Harper: Teen Sidekick, Drug User.” 2001. Online. <http://www.titanstower.com/source/libearly/drugsroy.html> January 19, 2004.
Santos, Derek. “The Comic Page.” 1998. Online. <http://www.dereksantos.com/comicpage/index.html> January 19, 2004.
“Standards of the Comics Code Authority for editorial matter as originally adopted.” 1971. Online. <http://www.comics.dm.net/codetext.htm> January 19, 2004.
“Westerns.” 2001. Online. <http://www.accomics.com/accomicswesterns/> January 19, 2004.
Wright, Bradford W. Comic Book Nation. Baltimore: Johns Hopkins University Press, 2001.
yes, it is long. No, I'm not sorry about posting it XD
For once, what I said in the conclusion (and the whole paper, really) wasn't just me talking out of my ass. I really did learn to like and appreciate what was going on in this period. I actually learned a great deal. This whole period in the comics timeline was pretty fuzzy for me. That's how I chose the topic (it had to be related to one of the books we'd read). When reading The Things They Carried (by Tim O'Brien), he'd say that Rat Kiley was carryign comics, and I'd always wonder which ones they were. My guess, after doing this paper, is on Spider Man, or maybe Iron Man. He seems like the type. Batman, possibly.
Anyway, it was a great deal of fun to research and write, despite my intense frustration at not being able to find books. I'm not sure how much fun it is to read, but, well. . . knock yourself out.
Yes, I went to Blockbuster's. For the second time in my life, I think. Was much annoyed--not a very good selection. Utter lack of Adventures of Priscilla: Queen of the Desert. Damnation! And also, two Alan Rickman movies, but not the ones I wanted. I ended up with Rasputin--horrible facial hair, but I figured it would have more speaking lines than the Quigley one, which also has a bad moustache. However, i feel that after reading Hellboy, watching Alan Rickman as Rasputin will tear me up more than watching him as Snape. Agh. I must find a better source of strange movies that people tend not to watch. >.>
However, I did find Shop Around the Corner, one I wanted from the Jimmy Stewart phase. It's the base for "You've Got Mail". ^_^ They didn't have F.B.I. Story though. :(
Anyway, this whole renting videos thing is very strange to me--my mom's a librarian, so usually we just have her supply us with all our video needs. Ah well.
Had I had more time, I could have reminded myself of the ones I wanted to look for beforehand. I'll have to make another trip. They might have Blow Dry. Hopefully I've gained some Blockbuster inertia now.
So now, for anyone who's interested, I'll post my english paper. I'll try to remember to italicize and fix up and all that everything that will become undone when I copy it. I actually remember that I started italicizing comics titles at first, and then forgot. . . but she didn't notice.
I apologize if it turns out the whole thing is vastly inaccurate from the point of view of someone who actually knows what they were talking about. I did my best, and I definitely learned a lot, but at the same time I knew that if something was given too much importance, and something else was skipped (and I'm not just talking about DC and Marvel) because I knew my english teacher wouldn't know. I did try, though, so hopefully. . .
Comic books in the form that they are most commonly seen today first appeared during the thirties, although some form of graphic storytelling has been around since the time of the Ancient Egyptians (McCloud). This first “era” in the history of comics is commonly known as the Golden Age. At this time, the stories and the art were very simple. Garishly dressed and often strangely named supermen beat up the bad guys, who were often Nazis, but sometimes merely gangsters. Horror titles became popular during the forties, gruesome tales that might still be shocking today, with names such as Tales from the Crypt or Web of Evil (Wright 155-6). These gore-ridden comics helped to bring on an event that nearly ended comic books entirely. The Seduction of Innocence, by Dr. Frederic Wertham, accused comics of causing children to become juvenile delinquents and lead to a Senate investigation against comics in 1953 (Coville). Comic books were attacked as immoral, and in 1954 the Comics Code was put into place (Grineau). The Comics Code Authority’s seal of approval on a comic showed worried parents that the comic followed the code’s ridiculously stringent limitations. It was at this point that the Silver Age began. Many Golden Age heroes were revived, largely under the leadership of DC Comics editor Julius Schwartz (O’Neil, Secret Origins). The Silver Age was a time of superheroes, many of them without distinct personalities, all simply fighting for truth, justice, and most importantly during the Cold War, “The American Way”. It was during this time that Marvel Comics was born, introducing the idea of a different type of superhero. These superheroes were more vulnerable, more human (Wright). This lead to a change in comics, a stray from the simple world of superheroes. By the end of the 1960’s, the Modern Age, or Bronze Age, was beginning, and comic books were changing in new and daring ways.
At the end of the Silver Age, superhero comics began to fade in popularity. The most popular comic was Archie Comics (Santos). The world of comic books then was very different from today. Rather than four main publishers: DC, Marvel, Dark Horse, and Image, and a host of smaller and independently run publishers, comics were published by a wide variety of sources. This included comics about Disney characters, Bob Hope, the Jetsons, and the Twilight Zone, among others (CUFON). In addition to this, DC and Marvel themselves were going through a great deal of changes. The entire comic book industry was suffering. In an attempt to revive a failing genre, the big comic book publishers made innovation to appeal to a new crowd of readers. Comic books expanded and grew. Horror comics had been nearly completely extinguished after the onset of the Comics Code Authority. However, in 1971, the code was made less stringent, allowing a return to such titles as House of Secrets, Swamp Thing, Warlock and Ghost Rider. Even within superhero comics, the heroes changed, the style and quality of writing was different, and the stories had more plot and purpose. Comics were no longer for only little children. An adolescent and adult readership was beginning to be attracted to the medium. Very aptly, this time is known as the beginning of the Modern Age. Comics were beginning to resemble those found today.
Unfortunately, despite all these changes, comic books continued to decline in popularity. They were not what the public at the time was interested in. There were many changes in the titles that were being published. Unfortunately, along with a large number of new or revived titles, there was an even greater number canceled. Many of the classic hero comics that were well-known and popular ended during this time, such as Captain Marvel, Aquaman, and Green Lantern. In addition, this period saw the final death of Western comics, which had been widespread during the fifties, but at this time were largely carried only as reprints by Marvel, and even this was ending (Westerns). The comics that were beginning were starting to become more courageous. DC and Marvel were attempting to make their comic books attractive and interesting in a time when people were not largely interested in comic books, and certainly not interested in the simple superheroes of the Silver Age with their black and white morals and flat personalities. This period also saw the beginning of underground comics (Lima). These reflected the subversive feelings of much of American society at the time. In addition, there was a return to horror comics, as well as comics that dealt with issues of the time.
Popular issues among these topical comics reflected popular issues among American youth culture of the time. Prominent among these were the Vietnam War. One of the comics that dealt with this was also a superhero comic: Hawk and Dove. This only ran from August of ‘68 to June of ‘69, with only 6 issues in that period. The short life of this comic is probably because it was not very enjoyable for the readers. However, it was brave enough to tackle controversial issues, in the form of two brothers, Hank and Don Hall (known in their superhero identities as Hawk and Dove, agents of chaos and order). Hank and Don argued the Vietnam War, and generally war versus peace (Left Wing). Comic books tended to be liberal and antiestablishment (Wright 239). Nothing embodied comics’ new pastime of questioning authority more than a series by Dennis O’Neil and Neal Adams. Now collected in a volume known as Hard-Traveling Heroes, this used a formula similar to that of Hawk and Dove: two contrasting characters in conflict with each other. Angry rebel Green Arrow sets out to show the straight-laced “space cop” Green Lantern, as well as his alien boss, that there were plenty of problems here on Earth, in America, and most importantly, that the people in power weren’t always the “good guys” (Adams, O’Neil). This comic summarizes both the entire shift in the comic book industry, as well as the sentiment of much of America’s youth. Comic books were beginning to shift from the black and white morals of the sixties, and the heroes were beginning to have distinct personalities. The readers of these comics, a more mature group than the audiences of the Silver Age, were interested in questioning authority.
One of the most significant events for the future of comic books that occurred during this period was the loosening of the Comics Code. This took place in 1971. The catalyst for this change was a story about drugs that was published in The Amazing Spider-Man issues #96-98 (Coville). Stan Lee wished to do an anti-drug story, showing the dangers of drug use through a man who jumps off a roof when high on pills. The Comics Code Authority wishes to ignore drug use entirely, and refuses to approve the issue. Instead of giving in, Marvel simply published the story without the CCA’s stamp of approval. After this, it was agreed to revise the code (Wright 239-41). Much of the code remained the same, however, qualifiers were added to many of the restrictions, allowing them to be bypassed at times (Standards). DC Comics also addressed the drug issue very soon after, in a story also written by Dennis O’Neil. Green Arrow’s sidekick, Speedy, was addicted to heroin. In Green Lantern #85-86, a comic book hero is revealed as a hard drug user, and his recovery is also shown (Roy Harper).
There were a number of people who played a vital role in updating the image of comic books and improving their content. The team of Dennis O’Neil and Neal Adams, along with the legendary Jack “The King” Kirby were some of the greatest contributors during the beginning of the Modern Age. Jack Kirby is famous for his dramatic and dynamic art style, helping to make comic books more visually appealing and interesting. Kirby worked with Stan Lee in the ‘50s to create many of the Marvel Comics that helped to trigger many of the changes of the early ‘70s. Simply put, Jack Kirby helped to raise comic books to a whole new level, and is one of the most respected and admired men in comics history. In 1970, Kirby came to DC, where he created an entire new universe, without using anything from the existing DC multi-verse. The story of Jack Kirby’s Fourth World was told in three simultaneous titles, Mister Miracle, New Gods, and Forever People. These were superhero stories, but of a new kind. The scale was very different from the stories seen previously: both vast and very intimate. Kirby’s tales covered interplanetary warfare and moral crises, but also still contained interpersonal relationships and even romance, a rare commodity in a superhero title (Kirby). Dennis O’Neil and Neal Adams are also known for making innovations on a more mainstream plane. They moved comics forward from their campy, corny form of the Silver Age, making them more serious, more interesting, and more worthwhile. Through their work on Green Lantern and Batman, they helped to update comic books for the new, older readers that were being attracted to the medium. Batman was returned to his original darker form, following a stint in the sixties where he was most like the Adam West television show (Daniels). Nearly every speech bubble contained a one-liner, and Batman was more goofy than anything else (Batman). Neal Adams brought a never before seen realism to comics art, which had a great effect on comics artists in the future, including Alex Ross (Kidd, Spear). Says Ross, “Neal Adams changed everything. He defined what realistic, dynamic storytelling in comics would be for all time.” Neal Adams and Dennis O’Neil made a powerful team. Together, their comics addressed serious issues, and were surprisingly ahead of their time.
Although some people call the period of the early 1970’s the Bronze Age, or simply the Post-Silver Age, it is easy to see that the Modern Age is the most fitting and descriptive name for this period. This is a time when comic books began to mature into the form that they now take. The end of the Silver Age marked an opening of comic book readership and subject matter, the two going hand in hand. As the writing became more sophisticated and generally of a higher quality to satisfy a public grown bored with simple superhero comics, a more mature and discerning reader was attracted to the medium. Unfortunately, this was also a time when comic books were simply losing popularity. However, it is partly this loss that caused comics publishers to attempt to change their products. Years that seem like a low point in the history of comics, and were certainly a low point in comic book popularity, actually lead to changes that mmay have saved comic books, and certainly greatly improved them. Comic books began to actually say something, they were not longer purely for entertainment value. The transitional periods are some of the most exciting and important in the history of comic books.
Works Cited
Adams, Neal, and Dennis O’Neil. Hard-Traveling Heroes. New York: DC Comics, 1992.
Batman in the Sixties. New York: DC Comics, 1999.
Coville, Jamie. “The History of Comic Books.” February 16, 2001. Online. <http://www.collectortimes.com/~comichistory/> January 19, 2004.
“CUFON’s Comic Book Cover Gallery.” Online. <http://www.cufon.org/comics/comicsgal1965-9.htm> January 19, 2004.
Daniels, Les. DC Comics: A Celebration of the World’s Favorite Comic Book Heroes. United States: Watson-Guptill, 2003.
Grineau, Joel. “Origin of the Comics Code Authority.” January 23, 1998. Online. <http://www.sideroad.com/comics/column12.html> January 19, 2004.
“History of Comics.” 2001. Online. <http://www.comic-art.com/history/chronol4.htm>January 19, 2004.
Kidd, Chip, and Geoff Spear. Mythology. United States: Pantheon Books, 2003.
Kirby, Jack. Jack Kirby’s Fourth World. New York: DC Comics, 2001.
“Left Wing, Right Wing.” Online. <http://www.geocities.com/cheeksilver/hawkanddove1.htm> January 19, 2004.
Lima, Rafael de Viveiros. “Some History.” 1998. Online. <http://www.geocities.com/soho/5537/hist.htm> January 19, 2004.
McCloud, Scott. Understanding Comics. Perennial, 1994.
O’Neil, Dennis, ed. Secret Origins of the DC Superheroes. United States: Warner Books, 1976.
“Roy Harper: Teen Sidekick, Drug User.” 2001. Online. <http://www.titanstower.com/source/libearly/drugsroy.html> January 19, 2004.
Santos, Derek. “The Comic Page.” 1998. Online. <http://www.dereksantos.com/comicpage/index.html> January 19, 2004.
“Standards of the Comics Code Authority for editorial matter as originally adopted.” 1971. Online. <http://www.comics.dm.net/codetext.htm> January 19, 2004.
“Westerns.” 2001. Online. <http://www.accomics.com/accomicswesterns/> January 19, 2004.
Wright, Bradford W. Comic Book Nation. Baltimore: Johns Hopkins University Press, 2001.
yes, it is long. No, I'm not sorry about posting it XD
For once, what I said in the conclusion (and the whole paper, really) wasn't just me talking out of my ass. I really did learn to like and appreciate what was going on in this period. I actually learned a great deal. This whole period in the comics timeline was pretty fuzzy for me. That's how I chose the topic (it had to be related to one of the books we'd read). When reading The Things They Carried (by Tim O'Brien), he'd say that Rat Kiley was carryign comics, and I'd always wonder which ones they were. My guess, after doing this paper, is on Spider Man, or maybe Iron Man. He seems like the type. Batman, possibly.
Anyway, it was a great deal of fun to research and write, despite my intense frustration at not being able to find books. I'm not sure how much fun it is to read, but, well. . . knock yourself out.
![[identity profile]](https://www.dreamwidth.org/img/silk/identity/openid.png){kind=small}
no subject
Date: 2004-02-01 04:46 pm (UTC)Re:
Date: 2004-02-01 06:22 pm (UTC)Still, glad to hear it was good. Hopefully it is in my near future ;)