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Comics is a medium used to express ideas with images, often combined with text or other visual information. It typically takes the form of a sequence of panels of images. Textual devices such as speech balloons, captions, and onomatopoeia can indicate dialogue, narration, sound effects, or other information. There is no consensus among theorists and historians on a definition of comics; some emphasize the combination of images and text, some sequentiality or other image relations, and others historical aspects such as mass reproduction or the use of recurring characters. Cartooning and other forms of illustration are the most common image-making means in comics; Photo comics is a form that uses photographic images. Common forms include comic strips, editorial and gag cartoons, and comic books. Since the late 20th century, bound volumes such as graphic novels, comic albums, and tankbon have become increasingly common, along with webcomics.

The English term comics is used as a singular noun when it refers to the medium itself (e.g. "Comics is a visual art form."), but becomes plural when referring to works collectively (e.g. "Comics are popular reading material.")..mw-parser-output .toclimit-2 .toclevel-1 ul,.mw-parser-output .toclimit-3 .toclevel-2 ul,.mw-parser-output .toclimit-4 .toclevel-3 ul,.mw-parser-output .toclimit-5 .toclevel-4 ul,.mw-parser-output .toclimit-6 .toclevel-5 ul,.mw-parser-output .toclimit-7 .toclevel-6 ul{display:none}

Free Comics

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The European, American, and Japanese comics traditions have followed different paths.[2] Europeans have seen their tradition as beginning with the Swiss Rodolphe Tpffer from as early as 1827 and Americans have seen the origin of theirs in Richard F. Outcault's 1890s newspaper strip The Yellow Kid, though many Americans have come to recognize Tpffer's precedence.[3] Japan has a long history of satirical cartoons and comics leading up to the World War II era. The ukiyo-e artist Hokusai popularized the Japanese term for comics and cartooning, manga, in the early 19th century.[4] In the 1930s Harry "A" Chesler started a comics studio, which eventually at its height employed 40 artists working for 50 different publishers who helped make the comics medium flourish in "the Golden Age of Comics" after World War II.[5] In the post-war era modern Japanese comics began to flourish when Osamu Tezuka produced a prolific body of work.[6] Towards the close of the 20th century, these three traditions converged in a trend towards book-length comics: the comic album in Europe, the tankbon[a] in Japan, and the graphic novel in the English-speaking countries.[2]

Outside of these genealogies, comics theorists and historians have seen precedents for comics in the Lascaux cave paintings[7] in France (some of which appear to be chronological sequences of images), Egyptian hieroglyphs, Trajan's Column in Rome,[8] the 11th-century Norman Bayeux Tapestry,[9] the 1370 bois Protat woodcut, the 15th-century Ars moriendi and block books, Michelangelo's The Last Judgment in the Sistine Chapel,[8] and William Hogarth's 18th-century sequential engravings,[10] amongst others.[8][b]

American comics developed out of such magazines as Puck, Judge, and Life. The success of illustrated humour supplements in the New York World and later the New York American, particularly Outcault's The Yellow Kid, led to the development of newspaper comic strips. Early Sunday strips were full-page[16] and often in colour. Between 1896 and 1901 cartoonists experimented with sequentiality, movement, and speech balloons.[17] An example is Gustave Verbeek, who wrote his comic series "The UpsideDowns of Old Man Muffaroo and Little Lady Lovekins" between 1903 and 1905. These comics were made in such a way that one could read the 6-panel comic, flip the book and keep reading. He made 64 such comics in total. In 2012 a remake of a selection of the comics was made by Marcus Ivarsson in the book 'In Uppner med Lilla Lisen & Gamle Muppen'. (.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free a,.mw-parser-output .citation .cs1-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited a,.mw-parser-output .id-lock-registration a,.mw-parser-output .citation .cs1-lock-limited a,.mw-parser-output .citation .cs1-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription a,.mw-parser-output .citation .cs1-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:#d33}.mw-parser-output .cs1-visible-error{color:#d33}.mw-parser-output .cs1-maint{display:none;color:#3a3;margin-left:0.3em}.mw-parser-output .cs1-format{font-size:95%}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}ISBN 978-91-7089-524-1)

Thin periodicals called comic books appeared in the 1930s, at first reprinting newspaper comic strips; by the end of the decade, original content began to dominate.[20] The success in 1938 of Action Comics and its lead hero Superman marked the beginning of the Golden Age of Comic Books, in which the superhero genre was prominent.[21] In the UK and the Commonwealth, the DC Thomson-created Dandy (1937) and Beano (1938) became successful humor-based titles, with a combined circulation of over 2 million copies by the 1950s. Their characters, including "Dennis the Menace", "Desperate Dan" and "The Bash Street Kids" have been read by generations of British children.[22] The comics originally experimented with superheroes and action stories before settling on humorous strips featuring a mix of the Amalgamated Press and US comic book styles.[23]

The popularity of superhero comic books declined in the years following World War II,[24] while comic book sales continued to increase as other genres proliferated, such as romance, westerns, crime, horror, and humour.[25] Following a sales peak in the early 1950s, the content of comic books (particularly crime and horror) was subjected to scrutiny from parent groups and government agencies, which culminated in Senate hearings that led to the establishment of the Comics Code Authority self-censoring body.[26] The Code has been blamed for stunting the growth of American comics and maintaining its low status in American society for much of the remainder of the century.[27] Superheroes re-established themselves as the most prominent comic book genre by the early 1960s.[28] Underground comix challenged the Code and readers with adult, countercultural content in the late 1960s and early 1970s.[29] The underground gave birth to the alternative comics movement in the 1980s and its mature, often experimental content in non-superhero genres.[30]

The francophone Swiss Rodolphe Tpffer produced comic strips beginning in 1827,[8] and published theories behind the form.[37] Cartoons appeared widely in newspapers and magazines from the 19th century.[38] The success of Zig et Puce in 1925 popularized the use of speech balloons in European comics, after which Franco-Belgian comics began to dominate.[39] The Adventures of Tintin, with its signature clear line style,[40] was first serialized in newspaper comics supplements beginning in 1929,[41] and became an icon of Franco-Belgian comics.[42]

In the 1960s, the term bandes dessines ("drawn strips") came into wide use in French to denote the medium.[48] Cartoonists began creating comics for mature audiences,[49] and the term "Ninth Art"[e] was coined, as comics began to attract public and academic attention as an artform.[50] A group including Ren Goscinny and Albert Uderzo founded the magazine Pilote in 1959 to give artists greater freedom over their work. Goscinny and Uderzo's The Adventures of Asterix appeared in it[51] and went on to become the best-selling French-language comics series.[52] From 1960, the satirical and taboo-breaking Hara-Kiri defied censorship laws in the countercultural spirit that led to the May 1968 events.[53]

Frustration with censorship and editorial interference led to a group of Pilote cartoonists to found the adults-only L'cho des savanes in 1972. Adult-oriented and experimental comics flourished in the 1970s, such as in the experimental science fiction of Mbius and others in Mtal hurlant, even mainstream publishers took to publishing prestige-format adult comics.[54]

From the 1980s, mainstream sensibilities were reasserted and serialization became less common as the number of comics magazines decreased and many comics began to be published directly as albums.[55] Smaller publishers such as L'Association[56] that published longer works[57] in non-traditional formats[58] by auteur-istic creators also became common. Since the 1990s, mergers resulted in fewer large publishers, while smaller publishers proliferated. Sales overall continued to grow despite the trend towards a shrinking print market.[59]

Japanese comics and cartooning (manga),[g] have a history that has been seen as far back as the anthropomorphic characters in the 12th-to-13th-century Chj-jinbutsu-giga, 17th-century toba-e and kibyshi picture books,[63] and woodblock prints such as ukiyo-e which were popular between the 17th and 20th centuries. The kibyshi contained examples of sequential images, movement lines,[64] and sound effects.[65] 17dc91bb1f