Comics and cartoons are ingrained in American life.
One critic has called comic books "crude, unimaginative, banal,
vulgar, ultimately corrupting." They have been regarded with
considerable suspicion by parents, educators, psychiatrists, and
moral reformers. They have been investigated by governmental
committees and subjected to severe censorship.
Yet more than 200 million copies are sold annually. Upon even
casual examination BLONDIE, ARCHIE, MARY WORTH, THE WIZARD OF ID,
and SHOE--among the many comic strips--will be found to support
some commonly accepted notion or standard of society.
Why do comics both amuse and arouse controversy? Here is an
attempt at an answer in a sharp-eyed comic-book lover's probing
look at this step-child genre. He finds comics both loved and
hated, relished and sneered at. In their relying on dramatic
conventions of character, dialogue, scene, gesture, compressed
time, and stage devices, he finds the comics close to the drama but
probably closer kin to the movies.
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