Comic History

Starting with the Civil War and cartoonist Thomas Nast, creator of the lasting images of Uncle Sam and Santa Claus, author Jeremy Dauber whizzes listeners through the progress of comics in the 20th century and beyond. Follow the history from the golden age of newspaper comic strips - Krazy Kat, Yellow Kid, Dick Tracy - to the midcentury superhero boom - Superman, Batman, Wonder Woman - and from the moral panic of the Eisenhower era to the underground comix movement; from the grim and gritty Dark Knights to the graphic novel’s rise.

The defining, behind-the-scenes chronicle of one of the most extraordinary, beloved, and dominant pop cultural entities in America’s history - Marvel Comics - and the outsized personalities who made Marvel, including Martin Goodman, Stan Lee, and Jack Kirby.

In the years between World War II and the emergence of television as a mass medium, American popular culture as we know it was first created in the bold, pulpy pages of comic books. The Ten-Cent Plague explores this cultural emergence and its fierce backlash while challenging common notions of the divide between "high" and "low" art.

Bestselling author and award-winning comics writer Ryan North has the answers. In this introduction to the science of comic-book supervillainy, he details a number of outlandish villainous schemes that harness the potential of today’s most advanced technologies. Picking up where How to Invent Everything left off, his explanations are as fun and elucidating as they are completely absurd.

See You At San Diego is the comprehensive chronicle of Comic-Con International and modern geekdom itself as told through countless stories by nearly fifty of the most integral members of the Comic-Con and fandom scene. This full-fledged oral history—bursting with intimate reflections, hilarious observations, and at times, heartbreaking stories—is about how the geek at last inherited the earth and the story of the transformation of mainstream American pop culture into comic book culture over the past century.

From the Silicon Valley tech billionaires currently trying to work out whether or not the universe is one giant video game simulation to the self-proclaimed community of Italian time-travelers who are trying to save the world from destruction; The Theory of Everything Else will act as a handbook for those who want to think differently.

This work dissects the origin and growth of superhero comic books, their major influences, and the creators behind them. It demonstrates how Batman, Wonder Woman, Captain America and many more stand as time capsules of their eras, rising and falling with societal changes, and reflecting an amalgam of influences. The book covers in detail the iconic superhero comic book creators and their unique contributions in their quest for realism, including Julius Schwartz and the science-fiction origins of superheroes.

This well focused and perceptive analysis of a phenomenon in our popular culture - the new respectability of the comic book form - argues that the comics medium has a productive tradition of telling true stories with grace and economy. It details vividly the outburst of underground comics in the late 1960s and '70s, whose cadre of artistically gifted creators were committed to writing comic books for adults, an audience they made aware that comic books can offer narratives of great power and technical sophistication.

Since its improvised creation at Microsoft in the mid-1990s, Comic Sans has become one of the most used and talked—about typefaces of the digital age. The subject of April Fools pranks and endless internet discourse, it has spawned a movement to ban it, inspired revivals and spinoffs, and continues to be widely promoted by educators. In this delightful history, bestselling author Simon Garfield tells the story of how Comic Sans emerged from speech bubbles on educational software to become one of the most recognized—and reviled—typefaces on earth.

The early 1970s saw the birth of the modern comic book shop. Its rise was due in large part to a dynamic entrepreneur, Phil Seuling. His direct market model allowed shops to get comics straight from the publishers, bypassing middlemen. Stores could better customize their offerings and independent publishers could now access national distribution. In this way, shops opened up a space for quirky ideas to gain an audience and helped transform small-press series, from Teenage Mutant Ninja Turtles to Bone, into media giants.

Comic Book Women offers a feminist history of the golden age of comics, revising our understanding of how numerous genres emerged and upending narratives of how male auteurs built their careers. Considering issues of race, gender, and sexuality, the authors examine crime, horror, jungle, romance, science fiction, superhero, and Western comics to unpack the cultural and industrial consequences of how women were represented across a wide range of titles by publishers like DC, Timely, Fiction House, and others.

For more than 75 years, Catwoman has forged her own path in a clear-cut world of stalwart heroes, diabolical villains, and damsels in distress. Her relentless independence across comic books, television, and film set her apart from the rest of the superhero world. When female-led comics were few and far between, Catwoman headlined her own series for over 20 years. But her unique path had its downsides as well.

Originally published in France and long sought in English translation, Jean-Paul Gabilliet's Of Comics and Men: A Cultural History of American Comic Books documents the rise and development of the American comic book industry from the 1930s to the present. The book intertwines aesthetic issues and critical biographies with the concerns of production, distribution, and audience reception, making it one of the few interdisciplinary studies of the art form.

Danny Fingeroth’s A Marvelous Life: The Amazing Story of Stan Lee is the first comprehensive biography of this powerhouse of ideas, who, with his invention of Marvel Comics, changed the world’s ideas of what a hero is and how a story should be told. With exclusive interviews with Lee himself, as well as with colleagues, relatives, friends - and detractors - Fingeroth makes a doubly remarkable case for Lee’s achievements, while not ignoring the controversies that dogged him his entire life - and even past his death.

The Science of Superheroes takes a lighthearted but clear-headed look at the real science that underlies some of the greatest superhero comic books of all time, including Spider-Man, Batman, Fantastic Four, and many more. Each chapter presents the story of the origin of one or more superheroes and asks intriguing questions that lead to fascinating discussions about the limits of science, the laws of nature, and the future of technology.

The influence of the comic book has never been greater, from movies to streaming and beyond, but the journey comics took from little-regarded kids' magazines to literary prize-winning books and global franchises turned on a highly unusual group of writers and artists. Few would have expected a small gathering of British comic book fans and creators in the early 'seventies to be a global cultural pivot-point, but this was the start of a disparate movement of punks, dropouts, and disaffected youths who reinvented a medium and became the imaginative heart of a global success story.

Wright's lively study also focuses on the role comic books played in transforming children and adolescents into consumers; the efforts of parents, politicians, religious organizations, civic groups, and child psychologists to link juvenile delinquency to comic books and impose censorship; and the changing economics of comic book publishing over the course of the century. Comic Book Nation is at once a serious study of popular culture and an entertaining look at an enduring American art form.

If Hollywood had a superhero throne, Spider-Man would be perched upon it. As the most popular superhero in the world, the web-slinger plays a pivotal role in three of the six highest-grossing film franchises in history: the Marvel Cinematic Universe; the Avengers quadrilogy; and the Spider-Man movies themselves. Spidey has come a long way since Marvel guru Stan Lee first concocted him in 1962, but until now his cinematic journey has not been fully documented.

Comic book superheroines bend steel, travel across time and space, and wield awesome forces. These mighty females do everything that male superheroes do. But they have to work their wonders in skirts and high heels. The Supergirls asks whether their world of fantasy is that different from our own. Are the stories of Wonder Woman’s search for an identity, Batwoman and Power Girl’s battle for equality, and Manhunter’s juggling of a crime fighting career and motherhood also an alternative saga of modern American women?

In Superman Is Jewish? Harry Brod reveals the links between Jews and superheroes in a penetrating investigation of iconic comic book figures. He describes how the role of each hero reflects the evolution of the Jewish place in American culture - an alien in a foreign land, like Superman; a figure plagued by guilt for not having saved his family, like Spider-Man; outsiders persecuted for being different (X-Men); a nice, smart guy afraid people won't like him when he's angry (the Hulk).