By Charles M. Schulz
"Order within the courtroom! With a very good massive nostril for justice, this felony beagle is right here to guard, guard, serve—and take a brief nap."
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Sample text
This is not simply a case of underground iconoclasts invigorating the art form, then fans smothering it; nor is it simply a case of the lowly comic book being supplanted by more reputable forms. Rather, the influence of the market is a matter of encouraging and debilitating influences shrink-wrapped together. ” This fandom revolves around comic shops, trade magazines, collectors’ price guides, large- and small-scale conventions, and, now overwhelmingly, the rapid-fire discourses of the Internet.
Some of these publishing companies, not surprisingly, grew out of successful retail and distribution businesses (for example, Pacific and Capital). Notable publications from this second wave of ground-level comics (the late seventies to early eighties) included Sabre, a self-contained album by Don McGregor and Paul Gulacy (Eclipse, 1978); Elfquest, a serialized fantasy epic by Wendy and Richard Pini (self-published under the WaRP Graphics imprint, 1978); Capt. Victory and the Galactic Rangers, a traditional four-color series by mainstream veteran Jack Kirby (Pacific, 1981); and, in Canada, at least two titles: the SF anthology Andromeda (Andromeda Publications, 1977–79) and, in 1978, Dave Sim’s series Cerebus (self-published under the Aardvark-Vanaheim imprint).
By the early eighties, the accelerating decline of newsstand sales led these publishers to rely increasingly on the then newly emergent fan (that is, direct) market to stave off disaster (see, for example, news coverage in The Comics Journal, circa 1980–81). This situation led, albeit gradually, to an overwhelming emphasis on organized fandom as the comic book’s core audience—and on the costumed superhero as its core genre. The current market thus represents a paradox. It has roots both in the comix counterculture of the late sixties (in particular its distribution network, which prior to 1973 constituted a thriving alternative economy) and in the nostalgic interests of a minority of dedicated comic book collectors, particularly superhero collectors, who began to correspond and barter with each other during the late fifties, and more visibly from 1965 onwards (see Schelly 20–21, 89–97).