|
|
| |
|
|
 |
|
|
|
|
    |
|
|
The Post-Golden Era... 1945 to 1950
Science Comics #1 |
With the invention of the atomic bomb and the world entranced with it's discovery, the time was ripe for
radioactive superheroes and publishers were quick to respond. Science Comics No. 1 from Humor Publications
in January 1946 and Atoman No. 1 from Spark Publications in February provided the comic public with their
first glances at the amazing mushroom cloud. With the paper shortage over, more comics were now seeing print
than ever before.
One of the few new superheroes to emerge was Black Cat Comics No. 1 in Summer 1946 from Harvey. Trying to
appease growing parent grow unrest against comics,
DC Comics published educational comics like Real fact No. 1 and Treasure Chest Comics, both in March
1946.
In July 1947 Jack Kirby and Joe Simon created the first romance comic, My Date Comics, published by Hillman
Periodicals. It was a failure and lasted only four issues. In September they tried again with Young Romance
No. 1 from Prize Comics Group. This time the idea was a great success with the title running for 29 years
and 208 issues. As soon as word got out, other publishers followed and the stands were full of romance
comics. Marvel brougtt out many lead by My Romance No. 1 in September 1948 with Stan Lee writing many of
them.
Robin began his solo adventures in Star Spangled Comics No. 65 in February 1947.
By 1948, Fawcett's Western title Hopalong Cassidy was selling an incredble eight million copies.
Again publishers scrambled to produce this new genre. Dc released Western Comics No. 1 in January 1948,
published Dale Evans No. 1 in September, based on the hit series. and in November turned the superhero
title All American Comics into All American Western. Marvel jumped in with The Two-Gun Kid No. 1 in
March 1948, followed by Annie Oakley No. 1 later that Spring, Tex Morgan No. 1 and Kid Colt Outlaw No. 1 in
August, Tex Taylor No. 1 in September, and Blaze Carson No.1 in September. Stan Lee, once again, was writing
many of these.
Crime comics continued to grow more and more popular. After the death of his father in 1947, William Gaines
changed the name of EC Comics' International Comics to International Crime Patrol with No. 6
and added War Against Crime in Spring 1948. Marvel changed it's funny animal comic, Wacky
Duck, to Justice Comics with No. 7 in Autumn 1947, Cindy Smith to Crime Can't Win with No. 41 in September
1950, and Willie Comics to Crime Cases Comics with No. 24 in August 1950. Crimefighters No. 1 premiered in
April 1948.
Fox Features Syndicate began publishing Crimes by Women in June 1948 and Murder Incorporated, featuring
"For Adults Only" on the cover, in Winter 1948. St. John Publishing started Crime Reporter and Ribbage
premiered Crime Smasher in October 1950. With the arrival of all these new types of comics, public opinion
was turning against comics. Dr. Frederick Wertham, who what later nearly destroy the industry, was
beginning his anti-comic campaign, blaming them for the delinquently of the nation's youth.
Superhero titles continued to take a backseat to crime, western, and romance comics and in Fall 1948
American Comics Group published Adventures into the Unknown No. 1, the first continuous-series horror
comic. Sales on superhero comics were so bad that
Marvel changed The Human Torch to Love Tales with No. 36 in May 1949 and Sub-Mariner to Best Love with
No. 33 in August 1949. DC premiered a rare superhero title that year with the release of Superboy No. 1 in
March. Prize Comics tried mixing the genres by publishing Real West Romance No. 1 in Spring 1949.
Archie relied on giving supporting characters their own titles for their expansion with the releases of
Archie's Pal Jughead No. 1 and Katy Keene No. 1. Harvey brought back Sad Sack, now as a civilian, in Sad
Sack Comics No. 1 in September 1949. They also added Blondie Comics No. 16 in March 1950 and Dagwood
No. 1 the following September.
The campaign against comics continued to gain support. A 1950 Senate Committee report on th influence of
comics on deliquentcy, though inconclusive, added fuel to the flames. A Cincinnati Committee on publicly
condemned most of the industry. Parents and teachers banned them from school and home, though it didn't
stop children from reading them. Legislatures passed laws limiting and banning the sale of comics. Through
this all, comics moved ahead, though becoming increasing more dark and violent. All these events set the
stage for The Silver Age.
me@dereksantos.com - Derek Santos - webmaster
Last modified:
|
|
|
|