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The Great Comic Book Heroes
by Jules Feiffer
Fantagraphics is proud to publish Jules Feiffer's long out-of-print and seminal essay of comics criticism, The Great Comic Book Heroes , in a compact and affordable format. In 1965, Feiffer wrote what is arguably the first critical history of the comic book super-heroes of the late '30s and early '40s, including Plastic Man, Batman, Superman, The Spirit, and others. In the book, Feiffer writes about the unique place of comics in the space between high and low art and the power that this space offers both the creator and reader. The Great Comic Book Heroes is widely acknowledged to be the first book to analyze the juvenile medium of superhero comics in a critical manner, but without denying the iconic hold such works have over readers of all ages. Out of print for over 30 years, Feiffer discusses the role that the patriotic superhero played during World War II in shaping the public spirit of civilians and soldiers, as well as the escapist power these stories held over the zeitgeist of America.
SC, 7x10, 80pg, b&w
Fantagraphics is proud to publish Jules Feiffer's long out-of-print and seminal essay of comics criticism, The Great Comic Book Heroes , in a compact and affordable format. In 1965, Feiffer wrote what is arguably the first critical history of the comic book super-heroes of the late '30s and early '40s, including Plastic Man, Batman, Superman, The Spirit, and others. In the book, Feiffer writes about the unique place of comics in the space between high and low art and the power that this space offers both the creator and reader. The Great Comic Book Heroes is widely acknowledged to be the first book to analyze the juvenile medium of superhero comics in a critical manner, but without denying the iconic hold such works have over readers of all ages. Out of print for over 30 years, Feiffer discusses the role that the patriotic superhero played during World War II in shaping the public spirit of civilians and soldiers, as well as the escapist power these stories held over the zeitgeist of America.
SC, 7x10, 80pg, b&w
80 pages, Paperback
First published January 1, 1965
About the author
Jules Feiffer
133 books190 followersJules Ralph Feiffer was an American cartoonist and author, who at one time was considered the most widely read satirist in the country. He won the Pulitzer Prize in 1986 for editorial cartooning, and in 2004 he was inducted into the Comic Book Hall of Fame. He wrote the animated short Munro, which won an Academy Award for Best Animated Short Film in 1961. The Library of Congress has recognized his "remarkable legacy", from 1946 to the present, as a cartoonist, playwright, screenwriter, adult and children's book author, illustrator, and art instructor.
When Feiffer was 17 (in the mid-1940s) he became assistant to cartoonist Will Eisner. There he helped Eisner write and illustrate his comic strips, including The Spirit. In 1956, he became a staff cartoonist at The Village Voice, where he produced the weekly comic strip titled Feiffer until 1997. His cartoons became nationally syndicated in 1959 and then appeared regularly in publications including the Los Angeles Times, the London Observer, The New Yorker, Playboy, Esquire, and The Nation. In 1997, he created the first op-ed page comic strip for the New York Times, which ran monthly until 2000.
He has written more than 35 books, plays and screenplays. His first of many collections of satirical cartoons, Sick, Sick, Sick, was published in 1958, and his first novel, Harry, the Rat with Women, in 1963. In 1965, he wrote The Great Comic Book Heroes, the first history of the comic-book superheroes of the late 1930s and early 1940s and a tribute to their creators. In 1979, Feiffer created his first graphic novel, Tantrum. By 1993, he began writing and illustrating books aimed at young readers, with several of them winning awards.
Feiffer began writing for the theater and film in 1961, with plays including Little Murders (1967), Feiffer's People (1969), and Knock Knock (1976). He wrote the screenplay for Carnal Knowledge (1971), directed by Mike Nichols, and Popeye (1980), directed by Robert Altman. He was recently given a Lifetime Achievement Award by the Dramatist's Guild.
When Feiffer was 17 (in the mid-1940s) he became assistant to cartoonist Will Eisner. There he helped Eisner write and illustrate his comic strips, including The Spirit. In 1956, he became a staff cartoonist at The Village Voice, where he produced the weekly comic strip titled Feiffer until 1997. His cartoons became nationally syndicated in 1959 and then appeared regularly in publications including the Los Angeles Times, the London Observer, The New Yorker, Playboy, Esquire, and The Nation. In 1997, he created the first op-ed page comic strip for the New York Times, which ran monthly until 2000.
He has written more than 35 books, plays and screenplays. His first of many collections of satirical cartoons, Sick, Sick, Sick, was published in 1958, and his first novel, Harry, the Rat with Women, in 1963. In 1965, he wrote The Great Comic Book Heroes, the first history of the comic-book superheroes of the late 1930s and early 1940s and a tribute to their creators. In 1979, Feiffer created his first graphic novel, Tantrum. By 1993, he began writing and illustrating books aimed at young readers, with several of them winning awards.
Feiffer began writing for the theater and film in 1961, with plays including Little Murders (1967), Feiffer's People (1969), and Knock Knock (1976). He wrote the screenplay for Carnal Knowledge (1971), directed by Mike Nichols, and Popeye (1980), directed by Robert Altman. He was recently given a Lifetime Achievement Award by the Dramatist's Guild.
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Displaying 1 - 30 of 33 reviews
February 10, 2021
This is a nice, early look at comic book heroes. It begins with a long, critical essay by Feiffer that's quite interesting. (He also addresses the Wertham debacle of the 1950s.) It includes early complete adventures from the 1930s and '40s of some of the best-known and most-popular heroes reproduced in color, including Superman, Captain Marvel, Batman, The Human Torch, The Flash, Green Lantern, The Spectre, Hawkman, Wonder Woman, The Sub-Mariner, Captain America, Plastic Man, and The Spirit. These are the first incarnations of the heroes, so The Flash is Jay Garrick, Captain Marvel is Billy Batson, Green Lantern is Scott Young, etc. It's fascinating to see how they've changed over the years, and yet much they've stayed the same in some ways. It's not as complete as some of the subsequent histories and encyclopedias, but it's a very good over-view, and a great collection of Golden Age stuff as well.
June 10, 2014
The first real comic book trade paperback that reprinted old stories for fans features some good reprints of some old stories. The Spirit tale is a little soft in terms of reproduction, but there are some fun stories here. Make sure you buy the the hardcover from 1965 or the paperback from the seventies, as they have the reprints. The new edition and e-book does NOT have the comic book stories.
Without the reprints, this is not the best book of reminiscences about the industry, which is surprising considering Jules Feiffer is normally one of my favorite comic creators and a veritable legend in many industries. His commentary comes off as droll, boring, and almost confrontational at times. The "art" of comics (particularly other peoples' comics) appears to have been lost on him as he grew older and the industry went through changes that forced him to adapt the juvenile outlook he had at the start. There's no real joy through most of the book; just a lot of whingeing.
If you want proper Feiffer, pick up his novel Ackroyd (one of my favorite books) or a collection of his comic strips. If you want a good beginning collection of Golden Age comic book feature reprints, pick up an older edition of this book - just don't bother reading the commentary.
Without the reprints, this is not the best book of reminiscences about the industry, which is surprising considering Jules Feiffer is normally one of my favorite comic creators and a veritable legend in many industries. His commentary comes off as droll, boring, and almost confrontational at times. The "art" of comics (particularly other peoples' comics) appears to have been lost on him as he grew older and the industry went through changes that forced him to adapt the juvenile outlook he had at the start. There's no real joy through most of the book; just a lot of whingeing.
If you want proper Feiffer, pick up his novel Ackroyd (one of my favorite books) or a collection of his comic strips. If you want a good beginning collection of Golden Age comic book feature reprints, pick up an older edition of this book - just don't bother reading the commentary.
August 22, 2008
One of my earliest books, now stored in a box somewhere in Michigan, awaiting retrieval. The anthology collected mostly creation stories, making this the pop counterpart of Edith Hamilton's Mythology. I remember liking The Fantastic Four (so recently sullied with crap-ass movies), The Spirit, Plastic Man, Wonder Woman (wonder why) and Submariner, who was until the 80s about the most sociopathic of superheroes. Captain America was in here, too, and of course, S- and B-man. My copy has this cover:
July 10, 2015
Nice overview from a first person view of the birth of comics and the early heroes. Recommended
March 22, 2020
Jules Feiffer is considered the most widely read satirist in the United States. His list of publications and other achievements is incredible, from a Pulitzer Prize to an Oscar for an animated short film that he wrote. He is the author of many books, from novels to graphic novels, plays, screenplays and other works too numerous to mention.
In this book he writes about the role of comic book heroes in his life and that of other boys of limited physical means like him. He also swings a few haymakers at Dr. Frederic Wertham, a nutcase of the highest order that unfortunately managed to be taken far too seriously by a gullible public.
In between these opening and closing sections, there are original cartoons of Superman, Batman, the original Human Torch, the original Flash, the Green Lantern, Spectre, Hawkman, Wonder Woman, the Sub-Mariner, Captain America, Plastic Man and the Spirit. They take the reader back to a time when comics were drawn in a far different manner than the modern style. Not better or worse, just different. Readers familiar will recognize the early years when people and other creatures died in comic strips.
In this book he writes about the role of comic book heroes in his life and that of other boys of limited physical means like him. He also swings a few haymakers at Dr. Frederic Wertham, a nutcase of the highest order that unfortunately managed to be taken far too seriously by a gullible public.
In between these opening and closing sections, there are original cartoons of Superman, Batman, the original Human Torch, the original Flash, the Green Lantern, Spectre, Hawkman, Wonder Woman, the Sub-Mariner, Captain America, Plastic Man and the Spirit. They take the reader back to a time when comics were drawn in a far different manner than the modern style. Not better or worse, just different. Readers familiar will recognize the early years when people and other creatures died in comic strips.
March 22, 2018
Apparently, in Feiffer's original edition of this essay, each chapter included a historical story about each of the characters that he discusses, but Fantagraphics opted to just reprint the essay itself, with only spot artwork. Sure would've been nice to see some of those stories reprinted (without paying $50 for an Archive!)...
Regardless, economic reality is what it is. And Feiffer's essay is terrific work - a celebration of the trash-roots of comics. He offers intelligent insights into the illustrators and their strengths and weaknesses, why the characters work and connect with us, and how the medium has grown and evolved (up to that point, 1965).
The writing is warm, and I laughed out loud many times due to the wit of his commentary on the idiocy of comics. But it's a loveable idiocy, a glorious trash that fires the imagination.
Regardless, economic reality is what it is. And Feiffer's essay is terrific work - a celebration of the trash-roots of comics. He offers intelligent insights into the illustrators and their strengths and weaknesses, why the characters work and connect with us, and how the medium has grown and evolved (up to that point, 1965).
The writing is warm, and I laughed out loud many times due to the wit of his commentary on the idiocy of comics. But it's a loveable idiocy, a glorious trash that fires the imagination.
January 2, 2022
Cartoonist Jules Feiffer was both a fan of and a participant in what has come to be called the Golden Age of Comics: that period in the late 1930s and early 1940s when superheroes first appeared and took over what had been a bland and highly derivative comic book industry. Feiffer's humorous essays give us a feeling for what it was like to immerse oneself in the world of super heroes in that era. He also has some interesting thoughts on the super heroes themselves, as well as the strident criticisms of Fredric Wertham, whose accusations of corrupted youth led to the unfortunate self-censorship of the industry. The second half of the book includes full color reproductions of key characters of the Golden Age: Superman, Batman, Captain Marvel, Flash, Green Lantern, Hawkman, Prince Namor, the Human Torch, Plastic Man, Wonder Woman and the Spirit.
August 13, 2021
got bored of seduction of the innocent so i decided to read a book by someone who actually liked comics and i had a far better time
personal standouts: jules feiffer being excited to learn that robin was supposedly gay, jules feiffer being notably disappointed wonder woman wasn’t gay enough
personal standouts: jules feiffer being excited to learn that robin was supposedly gay, jules feiffer being notably disappointed wonder woman wasn’t gay enough
June 3, 2020
1965 hardcover, missing the dust jacket, alas. Feiffer gives us 45 pages of a brief history of the American comic book and it's super-heroes, before gliding through the Golden Age. We get origin stories and early adventures of Superman, Batman, Wonder Woman, The Flash, Green Lantern, The Flash, The Human Torch, The Spectre, Captain America, Hawkman, Sub-Mariner, and The Spirit. Some of this stuff is wonderful, others not so much. It wasn't all Golden. Kirby, Cole, and Eisner couldn't draw everything.
December 11, 2018
It's fabulous I love the book
June 12, 2020
I take personal issue with Feiffer's characterization of Wonder Woman but other than that this is one of the best pieces of culture writing I've ever read, maybe the best.
October 17, 2022
Jules Feiffer wrote this essay for Dial Press in 1965, about five years after the first superhero renaissance that started DC Comics (with its first publication of the Justice League in The Brave and the Bold #28) and then Marvel Comics (with the publication of The Fantastic Four #1) on the path to comic book supremacy that has lasted for sixty years.
So, understandably, Feiffer (who was in his mid-30s at the time) doesn't waste any ink on the Silver Age of comics, but focuses rather on the comics of his youth. The first chapter focuses on the newspaper comic strips that predated the comic book heroes: Alley Oop, Wash Tubbs, The Spirit, Terry and the Pirates, etc.
Chapter two is about Superman, the workmanlike drawings of Joseph Schuster, and the bizarre love triangle between Superman, Lois Lane, and Clark Kent--who was actually Superman (not the other way around; i.e., Superman was his true identity).
Chapter three covers Superman's ubiquity and (as it turns out) legal dominance in the realm of superheroes, and this legal effect on Captain Marvel, among other comic book heroes.
Chapter four examines Batman as the polar opposite of Superman: storyline vs. strength; cinematic vs. simple, etc. He also examines the different stylistic outputs of the comic book publishers of the '40s and '50s.
Chapter five focuses on Will Eisner's The Spirit, an obvious Feiffer favorite.
Chapter six explains the concept, and widespread use, of swiping: a trade term for taking a superior artist's drawn panel and redrawing it as your own.
Chapter seven examines the relationship between Batman and Robin and the sexuality of Wonder Woman as seen through the eyes of Fredric Wertham: a psychiatrist who wrote the notorious book Seduction of the Innocent, which claimed that comic books caused youth to become delinquents.
Chapter eight discussed the changes that World War II brought to superhero comics.
In chapter nine Feiffer recounts his time as a fledgling comic book artist and the professional culture, such as it was, that fly-by-night comic book publishers naturally engendered: hack work, long hours, camaraderie vs. rivalry, etc.
In the afterword, Feiffer embraces the concept of comics as "junk" culture and, further, as underground junk culture, and the benefits thereof in a child's life.
This essay is, ultimately, a relatively personal one, but its primary benefit--to me, anyway--is in reading the thoughts of a cultural critic on a specific era of an artistic medium with which he had great personal experience (as opposed to a cultural critic's thoughts on an era that he or she experiences only in retrospect, as history). Feiffer obviously has great affection for the superhero comics of the '40s and '50s but harbors no illusions about the material being anything loftier than what it actually was: pulp fiction, often created quite quickly and without much forethought. As he states at one point, the trash far outweighed the gems--as is the case with any artistic medium, from television and novels to film and modern art.
One suggestion: if you plan to seek out a copy of this book, try to find the Dial Press edition (rather than the Fantagraphics reprint) because it includes many more illustrations that the reprint--for permissions reasons, no doubt--and the illustrations probably make the essay that much more enjoyable to read.
So, understandably, Feiffer (who was in his mid-30s at the time) doesn't waste any ink on the Silver Age of comics, but focuses rather on the comics of his youth. The first chapter focuses on the newspaper comic strips that predated the comic book heroes: Alley Oop, Wash Tubbs, The Spirit, Terry and the Pirates, etc.
Chapter two is about Superman, the workmanlike drawings of Joseph Schuster, and the bizarre love triangle between Superman, Lois Lane, and Clark Kent--who was actually Superman (not the other way around; i.e., Superman was his true identity).
Chapter three covers Superman's ubiquity and (as it turns out) legal dominance in the realm of superheroes, and this legal effect on Captain Marvel, among other comic book heroes.
Chapter four examines Batman as the polar opposite of Superman: storyline vs. strength; cinematic vs. simple, etc. He also examines the different stylistic outputs of the comic book publishers of the '40s and '50s.
Chapter five focuses on Will Eisner's The Spirit, an obvious Feiffer favorite.
Chapter six explains the concept, and widespread use, of swiping: a trade term for taking a superior artist's drawn panel and redrawing it as your own.
Chapter seven examines the relationship between Batman and Robin and the sexuality of Wonder Woman as seen through the eyes of Fredric Wertham: a psychiatrist who wrote the notorious book Seduction of the Innocent, which claimed that comic books caused youth to become delinquents.
Chapter eight discussed the changes that World War II brought to superhero comics.
In chapter nine Feiffer recounts his time as a fledgling comic book artist and the professional culture, such as it was, that fly-by-night comic book publishers naturally engendered: hack work, long hours, camaraderie vs. rivalry, etc.
In the afterword, Feiffer embraces the concept of comics as "junk" culture and, further, as underground junk culture, and the benefits thereof in a child's life.
This essay is, ultimately, a relatively personal one, but its primary benefit--to me, anyway--is in reading the thoughts of a cultural critic on a specific era of an artistic medium with which he had great personal experience (as opposed to a cultural critic's thoughts on an era that he or she experiences only in retrospect, as history). Feiffer obviously has great affection for the superhero comics of the '40s and '50s but harbors no illusions about the material being anything loftier than what it actually was: pulp fiction, often created quite quickly and without much forethought. As he states at one point, the trash far outweighed the gems--as is the case with any artistic medium, from television and novels to film and modern art.
One suggestion: if you plan to seek out a copy of this book, try to find the Dial Press edition (rather than the Fantagraphics reprint) because it includes many more illustrations that the reprint--for permissions reasons, no doubt--and the illustrations probably make the essay that much more enjoyable to read.
April 25, 2013
Feiffer's 1965 essay is widely regarded as one of the earliest critical works on comic books. And this being Feiffer, it is at once funny, serious, sentimental, snarky, and all too on target. Here he celebrates the junk he grew up reading on the eve of World War Two when the medium was first discovering itself and no one involved was thinking of anything more than their next paycheck. Certainly there was no comprehension that an entire mythology was being created by a bunch of hack writers and artists working in sweaty offices in old decrepit buildings in New York City.
The trick with this book is to find the original print, and not the recent reissue which only includes the essay itself. When first published the book included a wonderful selection of reprints from the Golden Age of comics, including origin stories and/or early appearances of Superman, Batman (we get the story of his creation as well as the Joker's debut), the Human Torch, the original Flash and Green Lantern, Sub Mariner, Captain America, and others.
The reprint of issue 2 of Wonder Woman is sexist in such an outrageously funny way that only the truly humorless would fail to laugh at how pathetic it is.
The best is saved for last: The first appearance of Jack Cole's Plastic Man (1939), which would exercise major influence on Mad Magazine and sixties underground comics, also marks the first self-recognition of the absurdity of comics to see print. And Will Eisner's the Spirit, in both scripting and art, was the finest strip of its era and hinted at the potentials to be found in bonding crime noir to comics, an area that is even today only beginning to be properly mined.
Feiffer closes the book with a wonderful chapter on childhood fantasies and why lowbrow junk lives on in our emotional landscape. He also attacks Frederic Wertham, the psychiatrist who went after comics and ensured his immortality as the one supervillain that not even the greatest heroes could defeat.
Ironically, Feiffer was bemoaning the impacts of self-censorship via the Comics Code Authority and declaring the superhero medium dead at precisely the time Stan Lee and Marvel Comics were remaking superheores into something entirely new. Had Feiffer written this book even a year or so later, he may not have sounded quite so resigned. But even so, the comics found in the original printing of this book will, for all their clumsy innocence, always be the best.
The trick with this book is to find the original print, and not the recent reissue which only includes the essay itself. When first published the book included a wonderful selection of reprints from the Golden Age of comics, including origin stories and/or early appearances of Superman, Batman (we get the story of his creation as well as the Joker's debut), the Human Torch, the original Flash and Green Lantern, Sub Mariner, Captain America, and others.
The reprint of issue 2 of Wonder Woman is sexist in such an outrageously funny way that only the truly humorless would fail to laugh at how pathetic it is.
The best is saved for last: The first appearance of Jack Cole's Plastic Man (1939), which would exercise major influence on Mad Magazine and sixties underground comics, also marks the first self-recognition of the absurdity of comics to see print. And Will Eisner's the Spirit, in both scripting and art, was the finest strip of its era and hinted at the potentials to be found in bonding crime noir to comics, an area that is even today only beginning to be properly mined.
Feiffer closes the book with a wonderful chapter on childhood fantasies and why lowbrow junk lives on in our emotional landscape. He also attacks Frederic Wertham, the psychiatrist who went after comics and ensured his immortality as the one supervillain that not even the greatest heroes could defeat.
Ironically, Feiffer was bemoaning the impacts of self-censorship via the Comics Code Authority and declaring the superhero medium dead at precisely the time Stan Lee and Marvel Comics were remaking superheores into something entirely new. Had Feiffer written this book even a year or so later, he may not have sounded quite so resigned. But even so, the comics found in the original printing of this book will, for all their clumsy innocence, always be the best.
September 9, 2016
Feiffer went to work in the comics industry as a boy, before becoming the author of his continuing work in the Village Voice. As a colorist, he decided to color in socks... on Will Eisner's lead character, The Spirit.
This great book is full of choice anecdotes, since retold by others, not so funny as Feiffer, a bona fide original. This was the first memoir I ever read... and loved: one of the great, formative books in my life, and I recommend it to everyone who loves literature. This, the original hardback edition added an anthology of featured origins and early adventures reprinted from the 1940s. The original essay, commissioned and printed in Playboy in mid-1960s during the superhero revival, is in print and worth purchasing from Fantagraphics Books. Read Feiffer's essay in the reprint edition from Fantagraphics, say, and you, too, will find out who wears socks in the comics. You can find both editions, like I did repeatedly in the 1970s, at better libraries.
SHAZAM!
Highest recommendation.
This great book is full of choice anecdotes, since retold by others, not so funny as Feiffer, a bona fide original. This was the first memoir I ever read... and loved: one of the great, formative books in my life, and I recommend it to everyone who loves literature. This, the original hardback edition added an anthology of featured origins and early adventures reprinted from the 1940s. The original essay, commissioned and printed in Playboy in mid-1960s during the superhero revival, is in print and worth purchasing from Fantagraphics Books. Read Feiffer's essay in the reprint edition from Fantagraphics, say, and you, too, will find out who wears socks in the comics. You can find both editions, like I did repeatedly in the 1970s, at better libraries.
SHAZAM!
Highest recommendation.
June 18, 2012
The first history of comic books, cartoonist Feiffer, who later won a Pulitzer Prize, delivers a fascinating account of super heroes comics alongside some of the more obscure creators. For example, Detective Comics #1, the first National title that spawned the company's much better known by the nom de plume DC, received a full critique of the artists (future great Craig Flessel, pre-Superman Joe Schuster, text-heavy Tom Hickey, Caniff-wannabe Will Ely, and Mandrake-copier Fred Guardineer) and the actual content. Feiffer follows the heroic trail in an approachable and engaging style. Still one of the finest introductory texts to the origins of the super hero comic book. The original hardcover volume included reprints of the comics that Feiffer mentions throughout. In 2003, Fantagraphics reprinted only the text portions in an affordable trade paperback.
June 4, 2013
Feiffer wrote this book, really the first serious look at comic books and superheroes back in 1965. It ignores the Silver Age because he is taking a walk down his own personal memory lane so it focuses on the Golden Age. In light of what we know now about a lot of the history of comics some of it seems anachronistic. Keep in mind that the Wertham "Seductionof the Innocent" debacle was still fresh. We now know that Bob Kane didn't create all those Batman stories himself and how Siegel came back to write Superman uncredited. Feiffer's narrative is very unstructured, often rambling but that's what makes it a memoir. What makes this book really work is chapter nine in which Feiffer regales the reader of tale sof being an up and coming cartoonist in the glory days of the Golden Age (he did work for Eisner).
September 15, 2008
Arguably the first extended commentary on the literary and artistic virtues of comic books, this rightly famous essay has been acclaimed ever since. Written in 1965, it also serves as a history of the Golden Age of comics - but, rather than objectively, it's a deeply personal one, as told from Feiffer's childhood memories and point of view. This can sometimes frustrate, as he truncates or skips over subjects we'd like to hear more about, and his insights occasionally seem dated or mystifying (e.g., "...once a hero turns that vulnerable he loses interest to both author and readers"). But what cannot be denied is that virtually every fanzine, magazine, or book devoted to the serious study of comic books owes a debt of gratitude to Feiffer, for having first shown the way.
January 14, 2008
An amazing, well-observed essay that, in 1966, essentially put comic books on the radar as a cultural artifact, not just worthless junk for kids. The original edition also included reprints of more than a dozen representative stories from the Golden Age, including an episode of Will Eisner's "The Spirit" that helped draw Eisner back into the industry.
September 14, 2012
This was one of the first serious looks at the art of sequential imagery that we call comic books. It covers the Golden Age of comics, and since I read the original edition of the book, it contains reprinted stories from that time period. An interesting look at the history of comics, at a time when comic book stores and such did not even exist yet.
January 4, 2014
Outstanding collection of short essays on the origin and evolution of heroes in comic books (not just super-heroes). There is little argument that comic book heroes fill psychological needs, but much more argument over which needs. A fascinating chronological analysis put in context of the social and economic landscapes of the time from a man who was a rabid fan and contributor.
May 15, 2013
Short and to the point. For its length and date of publication it contains some really great insights into the superhero myth. Jules spends only a little time reflecting on his own memories and recollections and instead spends a majority of the book analyzing what about these heroes keeps us interested.
January 18, 2015
This was at its best when it was personal and rather lyrically whimsical (both regarding his time as a fan and as a laborer in the field). Unfortunately though--Feiffer being Feiffer--he couldn't help but get all analytical and psychological about the whole business, which led to the usual specious mishmash.
October 8, 2008
Feiffer's opening essays are funny and informative, from pretty much an insider's perspective. Then the comics are mostly origin stories and first adventures. Probably not interesting to someone who's not into comics, but if you are, it's all good to know.
January 24, 2012
Great essay about the early days of comics and the joys of reading fun, junk when you're a kid. This essay was written in the 1970's when comics were still an esoteric pursuit, only enjoyed and appreciated by a small minority of adults. This gave the essay an especially interesting perspective.
April 7, 2014
It is often times hard to tell what is truth and what is simply embellishment in this book. All the same, it really does a wonderful job of establishing the beginnings of the comic book industry from the perspective of an insider.
April 29, 2016
I found this book in my public library as a kid and checked it out as often as the librarian and my mom would let me. I read another copy recently and still enjoyed it just as much. Feiffer did a fantastic job in detailing not just the heroes but their creators and the world they lived in.
June 5, 2008
One of the first "serious" looks at comics in an extended essay.
Very well written, thoughtful and fun.
Very well written, thoughtful and fun.
May 11, 2020
Interesting, easy read on the early day of comic books.
January 29, 2015
wow feiffer's text is way more sexist, racist, and homophobic than i remember it being. still a good book to have around for the reprints tho.
September 4, 2012
My bible as kid...still have it minus the jacket though.
Displaying 1 - 30 of 33 reviews