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Comics 101 – What is the Post-Modern Age of Comics?

Most historians and comic book fans consider the era we currently find ourselves in as modern. But there is no doubt that something in the comics industry created a fundamental shift in the foundation of the business and entertainment aspects of the medium at the start of the new millennium. Soon, I think the pundits will announce that comic book publishing has entered a new era, and the previous one – the one now known as the “modern era” will be reclassified as something else (the most likely candidates will probably be the Platinum or Iron Ages). However, since this era has not been labeled, the only thing we can accurately call the current era of comic book publishing is the “post-modern” era.

In the golden age of comics, any adventure in an issue was longer than about 8 pages, and most titles were anthologies featuring multiple characters in short adventures. In the Silver Age, many titles had a 12-16 page lead and a 6-8 page back-up. In the Bronze Age, most comics featured only one character or concept, often in short two- or three-part stories, with subplots lasting a year or more.

Today, it’s standard in most superhero comics to write in “story arcs,” a four to eight-part story, with each issue serving as a “chapter” to that story, which can intersect in the larger family of the title. books, or in other titles altogether.

The storytelling technique in these comics is called “unzipped”, because the scenes are “allowed to breathe”. Instead of rushing from scene to scene at a breakneck pace, the writer can linger on a specific scene or even moment, to allow it to develop more fully.

The style can be characterized (or even stereotyped) by a sequence of images that do not change and have no text, to indicate that a character is thinking, or that the writer wants to indicate a pregnant and awkward pause in the dialogue. It can also be used in a series of images without text to bring more awareness to certain elements of those images.

Two of the first American comics to use the style were those of Warren Ellis Authority and Brian Michael Bendis’ Ultimate Spider-Man. In Authorityit was usually referred to as “cinematic style” or “widescreen style”, as Ellis often used the device to “slow down time”, as popularized in films like The matrix. In Ultimate Spider-Mandecompression was more often used in dialogue, where two characters would talk to each other for pages.

Both titles were smash hits, and many other writers tried to emulate the styles of Ellis and Bendis, with varying degrees of success.

Even when done correctly, there are costs and benefits to unpacked storytelling. On the one hand, it gives the writer the opportunity to really develop their thoughts (characters, action sequences, etc.) more fully and bring them into focus for the reader. On the other hand, with less text to read, it can shorten an issue’s reading time, leading to reader dissatisfaction.

A common complaint among readers is that decompression involves “stuffing”, the book, developing a storyline in order to sell more copies of each issue, or fulfilling a contract on a collection of paperbacks in the series, which generally sell better when collected. 5 to 8 issues of a title. It’s called “writing for trade,” though DC Comics and Marvel Comics release more of their newer collections in hardback format first.

manga is such a broad term and experience that it would be impossible to examine the history and cultural impact of manga and anime within the context of this article. For the purposes of our discussion here, we will primarily focus on the impact manga has had on the American comic book market.

“Manga”, at its most basic level, is just another term for a comic created in one of the Southeast Asian countries, or influenced by work coming out of those countries.

Manga has influenced Western culture for decades, from speed racer and Battle of the Planets/G-Forcethrough live action Power Rangers by Mighty Morphin and its sequels in the 80s and 90s, Pokemon and Dragon Ball Z today.

However, it was mostly an underground pastime in the United States, a pastime for high schoolers and college students. What ultimately pushed manga’s popularity to the top may have been the start of Shonen Jump Magazine.

Shounen jumpa monthly English edition of Japan’s Weekly Shonen Jumpdebuted in late 2002. Among the seven stories serialized in early issues were naruto, A play, dragon ball z and Yu Gi Oh! All of them became major, cross-platform hits. Shounen jump tapped into a huge, underserved market for young boys who wanted action-packed comics.

Viz, Tokyopop, and other publishers cashed in on the manga explosion by striking deals with Asian manga publishers to translate their original titles for American audiences and sell them in digest-sized compendiums. If you visit the “Graphic Novel” section of your local bookstore, chances are that the storage space for manga is 4-5 times that of American-style comics.

It’s unclear what the ultimate impact will be on sales of Western-style comics, but they’re facing resistance within the American comics community. Some fans and retailers have both rebelled against the idea of ​​offering manga in American comic stores. It is unclear what the reasoning behind these feelings is.

Identity crisis was a miniseries written by bestselling author Brad Metlzer and illustrated by Rags Morales, published by DC Comics in 2004. Seeds first planted by Alan Moore and Dave Gibbons in The Watchers in 1986 finally reach their full potential here.

Identity crisis deals with topics such as rape, murder, human rights violations, insanity, corruption and deception in a very frank and adult way. The Watchers also dealt with all these themes, but Identity crisis It was the first time they were at the center of a title firmly rooted in the DC Universe. These weren’t characters created for history, they were Silver Age icons of DC Comics, this was the Justice League of America.

What you thought Identity crisis was a good mini-series or not (and it was a very polarizing story), we must recognize that it is at least an intellectual descendant of The Watchers. The story’s morally ambiguous quality set the overall tone in the DC Universe. Since Identity crisiswe saw :

  • A Justice League administrator shoots Blue Beetle in the head, killing him instantly
  • Wonder Woman breaks a man’s neck on live TV around the world
  • Batman uses (and loses control of) a computer satellite to try to spy on literally everyone in the world
  • Even DC’s current crossover event, “Blackest Night,” is based on mistakes made by heroes in their past that literally come back to haunt them.

(A personal note: I am not passing judgment on either Identity crisis or what has happened since. But it’s impossible to argue that the DC Universe isn’t a much darker place than it was even 10 years ago).

Admittedly, it may seem like superhero comics are entering their decline, as sales continue to decline each year. But on the other hand, it’s possible we’re just around the corner from another Golden Age. It’s obvious that superhero stories on the big screen have been embraced by the masses. Perhaps with new distribution models like the iPhone or Longbox platforms, superhero comics will regain their place in the national consciousness.

So whether we’re in the modern era or the post-modern era, it’s very possible that we’ve just turned the corner into another era of comic book publishing.

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