Although lacking in popularity for years, the mid-50s
through early 60s brought back a resurgence of the
superheroes. This in itself was not bad, especially since I
like superheroes. But as the publishers wanted to cash in
on this rebirth, all other genres within the comic book
industry started to fade. The romance comics, the westerns,
the hard-boiled detectives, the war comics and science
fiction comics all started to pass by the wayside. The
superhero was being driven by the market forces, which
became to exist in the US comic book industry. Suppliers
and consumers alike developed an obsessive preoccupation
with superheroes, which ultimately became a detriment to
the medium as a whole. By catering too much to the limited
market of superhero lovers, a much broader audience became
neglected. One analogy presented in the past was that
superheroes are like really good desert. We all like
desert, but who can eat it all the time?
Another concern with this market saturation was the
aesthetic merits under the weight of the superhero
longevity itself. This was not necessarily the fault of the
genre itself, but of the market upholding its lone cash
cow. The very nature of art of storytelling within the
superhero arena, was greatly affected. We all have learned
from the time we were young, the fundamental elements of
storytelling. There is the beginning, a middle and an end.
The telling of superheroes defies these fundamentals. There
is a beginning, a continuous middle and NO end. The most
obvious (and arguably most drama killing) story telling
convention is that a leading superhero character can not
die, at least, not for long.
Where is the sense of suspense in knowing the peril of the
superhero against the super villain, will not last for
long. Knowing that to sustain the market popularity, the
hero must return issue after issue. While thrilling, it
becomes and unconscious exercise in waiting to see how our
hero survives. This does not command the drama as that of a
character whose outcome you are uncertain of for any given
issue. This leaves no ending to an otherwise great story
line, and thus a paradox. How could our superhero
characters continue, as we would have them, if they were
truly to die?
Cognitive psychology has demonstrated that memory retention
is stronger with beginnings and endings. We wonder then,
how can a story be memorable if there is no ending? It can
be theorized, that to keep comic books good, and this
includes super heroes, they have to ultimately come to an
end. It has been quoted before that all good things must
come to an end. Would this help to keep the comic book
industry on a more successful track? This can now only be
to the speculation of each of us as individuals. Think
about what your opinion is.
One of the easiest mistakes to spot in the comic book
industry, but the hardest to avoid, was the creation of the
Direct Sales Market. This was intended so dealers could
purchase direct from the publishers, for a lower cost and
in bulk. This in turn would allow the dealers to make their
own profits. Not a bad idea. Isn”t this how
wholesale/retail transactions operate? Apparently though,
this became the only method of distribution and eliminated
mass venues and comic books were only sold through small
isolated venues. What do you think would happen if Time
Magazine, for instance, took itself off the newsstands and
sold only through these small outlets?
Imagine, although pure profits for the publishers, turning
a mass publication into a niche market publication. Who
would deliberately do this? Who would be that crazy? Well,
apparently the comic book industry did. Over 70 odd years
they had managed to always make the wrong decision, by
looking at the shortest-term results and throwing every egg
into that basket.
And if all this is not enough, the final mistake made by
the industry was to shift from Product to Personality. This
entailed the move toward selling who was doing the book
instead of what the book was all about. While a few bright
lights in the comic book writing field shined and some over
the short term prospered, can an industry in general,
continue to be successful? If none but the most well know
and successful writers can prosper, what would become of
the bulk of the comic book genre, if this attitude
persists? Many otherwise excellent magazines may go down
the proverbially flaming tubes. Do keep this in mind.
Can the comic book industry be saved? Very possibly, but
when the individuals in charge of the saving are as eager
as ever to make the same mistakes all over again, what will
the outcome be? They don”t even appear to be cleaver enough
to make new mistakes.
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