History of

David Smith
and Jodene Smith
History of

David Smith, M.F.A., and

Jodene Smith, M.A.
Consultants
Timothy Rasinski, Ph.D.
Kent State University
Lori Oczkus, M.A.
Literacy Consultant

Publishing Credits
Rachelle Cracchiolo, M.S.Ed., Publisher
Conni Medina, M.A.Ed., Managing Editor
Dona Herweck Rice, Series Developer
Emily R. Smith, M.A.Ed., Content Director
Stephanie Bernard and Seth Rogers, Editors
Robin Erickson, Multimedia Designer

The TIME logo is a registered trademark of TIME Inc. Used under license.

Image Credits: p.4 Old Paper Studios / Alamy; pp.6-7 ZUMA Press,
Inc. / Alamy; p.9 Hulton Archive/Getty Images; p.10 Ronald Grant
Archive / Alamy; p.12 Mario Tama/Getty Images; p.13 LOC [LC-DIG-
ppmsca-17154]; p.14 Mim Friday / Alamy; p.15 FILM STILLS / Alamy;
p.21 Barcroft Media /Barcoft Media via Getty Images; pp.22-23 Ted
Pink / Alamy; pp.24-25 Atlaspix / Alamy; p.28 StampCollection /
Alamy; p.33 Alan Levenson/The LIFE Images Collection/Getty Images;
p.35 Warner Bros./AF archive / Alamy; p.37 Courtesy of Image Comics;
pp.38-39 Marvel Studios/AF archive / Alamy; p.40 AF archive / Alamy;
all other images from iStock and/or Shutterstock.

Notes: Readers should have parental permission before reading the

comic books mentioned in this book due to possible mature themes
or images. All companies, titles, characters, and products mentioned
in this book are registered trademarks of their respective owners or
developers and are used in this book strictly for editorial purposes. No
commercial claim to their use is made by the authors or the publisher.

Library of Congress Cataloging-in-Publication Data

Names: Smith, David, 1973- author. | Smith, Jodene Lynn, author.
Title: History of comic books / David Smith and Jodene Smith.
Description: Huntington Beach, CA : Teacher Created Materials, 2016. |
Includes index.
Identifiers: LCCN 2016012204 | ISBN 9781493835959 (pbk.)
Subjects: LCSH: Comic books, strips, etc.--History and criticism--Juvenile
literature.
Classification: LCC PN6710 .S59 2016 | DDC 741.5/9--dc23
LC record available at http://lccn.loc.gov/2016012204

Teacher Created Materials

5301 Oceanus Drive
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ISBN 978-1-4938-3595-9
© 2017 Teacher Created Materials, Inc.
 of C o nte nts
Table
The Beginning of Comics . . . . . . . . . . . 4
The Golden Age of Comics . . . . . . . . . . 8
The Silver Age of Comics . . . . . . . . . . 14
Punk Rock 80s . . . . . . . . . . . . . . . . . . . 24
The Death of Comics? . . . . . . . . . . . . . 30
Comic Books Are Forever . . . . . . . . . . 38
Glossary . . . . . . . . . . . . . . . . . . . . . . . . 44
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Check It Out! . . . . . . . . . . . . . . . . . . . . 46
Try It! . . . . . . . . . . . . . . . . . . . . . . . . . . 47
About the Authors . . . . . . . . . . . . . . . . . 48

3
 g of C o mi c s
The Beginnin
Bam! Pow! Zing! What do these words make you think
of? If you answered “a comic,” then you already know a bit
about comics. But there is so much more.
Political cartoons could be considered the first comics.
They were used to make fun of political figures such as
King George of England or President Abraham Lincoln.
The cartoons also questioned authority. Artists drew these
authority figures with weird bodies or exaggerated heads to
make fun of them. King George was often drawn with a big
behind. Imagine the popularity of that cartoon! Sometimes
political cartoons were used to draw attention to injustices
or to highlight current events. This style of comic still exists
in newspaper editorial pages and magazines.

Color Is King
ic pages
The Sunday com
g in color in the
began printin
was a big
late 1800s. This
th e rest of the
deal because
black and
newspaper was
m ov ies were
white. Even
hi te back then!
black and w

4
 o Why are comics so much fun to read?
o Are comic books true art or just
entertainment?
o Who is your favorite comic character?
Why?

What Is a C
omic?
Comics are storie
s told using
pictures. The wor
ds being
spoken are show
n in word
balloons. Clouds
show what a
person is thinking
or dreaming.

Newspaper Heroes
In the early 1900s, the Sunday newspaper had an
8- to 16-page comic section! It was wrapped around the
outside of the newspaper because it was everyone’s
favorite part.
The most famous comics from this time are Gasoline
Alley, Little Nemo in Slumberland, and Dick Tracy. Gasoline
Alley is filled with jokes about cars and small‑town life.
Little Nemo shows the adventures of Nemo in his dreams.
Dick Tracy is about a detective. He faces off against all
kinds of bad guys, such as Flattop Jones, who really has
a flat head.
5
 Make Me Laugh
Comic strips, also called funnies, usually had one to
four pictures in a row. In the early 1900s, the strips were
popular because they usually told jokes. Most comic strips
told the entire joke in one strip. But some comic strips told
stories that continued from day to day. Comics such as
Little Nemo in Slumberland became story driven. They also
began taking up more space in the comics section. Rather
than only four panels, they took up a whole page! These
longer and more story-driven comics are what evolved into
full comic books.

ndays
at W h o Hates Mo
The C o rl d -f amous comic
strip.
anoth er w s to
Garfield is complain
a fa t, lazy cat who loving
Garfiel d is
a ll d a y. H e ’s known for
n,
his owner, Jo . This comic
a ti ng Mondays
lasagn a a n d h in 1978 and
a s cr ea te d by Jim Davis
strip w
day.
continues to

Peanuts crew

6
 Quit While You’re Ahead
Cartoonist Bill Watterson quit his beloved
and enormously popular comic strip Calvin
and Hobbes after ten years. He feared that his
comic would become stale and lose its humor.
Many people believe that if the strip had
continued for many decades, it would perhaps
have rivaled Charles M. Schulz’s Peanuts.

Great Comic, Charlie Brown!

In time, Peanuts became one of the most popular and
well-known comic strips. Peanuts is a comic strip about
Charlie Brown, his friends, and his dog Snoopy. Charles M.
Schulz created this four-panel comic in 1950. Schulz drew
the Peanuts gang for over 50 years. Peanuts appeals to
all ages because readers can identify with the different
characters. Charlie Brown is the original “wimpy kid,” but
he has the coolest dog ever! The consistent four-panels
drawn by Schulz made this format widely used by other
comic‑strip writers.

7
 e Go l d e n A ge
Th
of Comics
Comics became so popular that they were too big for
newspapers. They needed their own magazines, called
comic books. At first, comic books were about humor,
detectives, and romance. But everything changed with
the success of Superman, who first appeared in Action
Comics #1. Early issues of this series sold so well that he
was awarded his own magazine, Superman, in 1939.

Birth of the Superhero

Jerry Siegel and Joe Shuster created Superman. During
the Depression, they were looking for a hero to write
positive stories about. They tried to get newspapers to print
their comic strips. After a lot of rejection, they put their
strips into a book and had it printed. The first successful
comic book was born!
Superman was a smash success. Some early issues sold
over a million copies. This led to new superhero comics.
Others tried to duplicate the success of Superman. The
heroes were always good and had incredible powers. These
superpowers were the new story element that gave heroes
the edge against evil.

ge?
hy T he Golden A
W The Golden
known as
This period is arks the first time
it m
Age because e told.
p u la r stories wer
these po this time
ic books from
Original com le.
most valuab
are also the
8
 The Original
Superpowers
Superman’s supe
rpowers have serv
basis for countless ed as the
other superheroe
include flight, he s. They
at vision, x-ray vi
strength, super in sion, super
telligence, the ab
deflect bullets, an ility to
d super speed. He
a secret identity, also has
which becomes co
for many other su mmon
perheroes.

Superman is stro
nger
and smarter than
police and villain
s.
9
 A Dark Spin
A year after the success of Superman, Batman was
published by Detective Comics, also known as DC
ComicsTM. Batman is a vigilante seeking his own kind
of justice. Batman doesn’t have any super powers and is
fully human. But he does have his sharp wit and physical
training. He also has unlimited financial resources. Batman
is really Bruce Wayne, a billionaire who lives in Gotham
City. Wayne uses his riches to pay for equipment to help
him fight crime.
Batman fights for what is right. Sometimes, his way of
doing this includes breaking the law. He wants revenge for
the murder of his parents and wants all criminals to pay.
Batman fights many evil characters. This level of darkness
and desire to fight corruption in Gotham City has attracted
readers to Batman for many years. It also created a new
spin on the traditional superhero—one who has a dark side
of his or her own.

Robin, Batman’s
sidekick

Sidekick
Dick Grayson is a bo
y who is saved
by Batman. Grayso
n soon joins
Batman as Robin th
e Boy Wonder,
one of the most po
pular superhero
sidekicks ever. But
he wasn’t
the first—the Crim
son Avenger’s
sidekick, Wing How,
debuted
in 1938. So did Fatm
an, Mister
America’s sidekick.

10
 Batman

Love Interest?
Gotham City
Catwoman is a burglar in
’s heart. His
who soon steals Batman
that he is a
interest in her is evidence
ets , both light
character with many fac
ero cha racters
and dark. Many superh
low ed suit.
that came since have fol

11
 Copycat?
At first, Captain America’s shield was diamond
shaped. But The Shield, another comic book hero of
the time, had a badge-shaped design on his costume.
The creators of The Shield wanted Captain America’s
shield changed. The creators of Captain America
redesigned the shield to become the round one that
we know today.

12
Comics Fight the Nazis
Comic books were used as part of the war effort during
World War II. They helped to spread the message of the
greatness of America. Material that spreads a message
to help a cause is known as propaganda. Heroes that
represented the United States were depicted. Real-world
villains, such as German dictator Adolf Hitler, were also
used. The armies of Germany, Japan, and Italy were shown
as crazed thugs. This is now seen as an embarrassment to
many comic book collectors today. The message to people
was clear, though: Get in the war and be a real hero.
Captain America was born from this message. He is
America in human form, created to fight against Nazi
atrocities. Captain America is often shown fighting
Hitler and the Nazis. There is even a famous illustration
that shows him giving Hitler a punch on the jaw! He
is costumed in the American flag and has a shield to
protect himself. On a deeper level, he is the shield for
all Americans.

the Field
Comics in r
in was a soldie
Bill Mauld
War II. He drew
during World
e characters
cartoons of th the
as they faced
Willie and Joe co m ics
ar. These
hardships of w th e
blished in
were later pu
ap er Stars and
army newsp
pe was that
Stripes. The ho
courage the
they would en
y on.
troops to carr
Willie and Joe
cartoon published
April 4, 1941.
13
 e of C o mi c s
The Silver Ag
“Good guy saves the day” remained the formula
for comics for many years. After a while, the formula
became too predictable. But, in the early 1960s, comics
grew popular again. Creators such as Stan Lee brought
new ideas. This period of comic history is known as The
Silver Age. New life was breathed into existing heroes
from the Golden Age, and many new heroes were added.

Hero Trouble
The Fantastic Four tea
m does not
always get along. Ben
Grimm is
easily provoked and fig
hts with
his teammates. Even nic
e guy, Mr.
Fantastic, argues with
his fiancée,
Sue Storm. Johnny Sto
rm, aka the
Human Torch, antagon
izes Ben
and flies off the handle.

The Thing, aka

Ben Grimm

14
 A New Wom
an
The original su
perhero name
Storm was The for Sue
Invisible Girl. Sh
the name unti e kept
l the
updated to refle 1980s, when it was
ct social progre
became The In ss. Sue
visible Woman
.

Stan Lee Creates The Fantastic Four

Lee worked as a comic writer for more than a
decade, but he was ready to quit. He hadn’t had much
success. His wife talked him into writing one last comic.
She also encouraged him to change the comic formula.
Stan wanted to write his characters with human flaws
and problems. He gave it a try and created the comic
The Fantastic Four.
Lee wrote about four ordinary
people transformed by cosmic
rays to gain superpowers. They
worked together and alone to
save the world. The new comic
clobbered the competition! Before
The Fantastic Four, heroes were
practically perfect. This made
them uninteresting. Lee’s writing
made comics more exciting.
The Fantastic Four was a
financial success. Writers from
that moment on were free to
tell their own stories without
following a formula.
15
 Jack “The King” Kirby
Jack Kirby provided the visuals for most of the comics
written by Stan Lee during the Silver Age. He drew the
Fantastic Four, X-Men, Hulk, Iron Man, and The Avengers.
He illustrated over one hundred Fantastic Four comics
alone! Kirby drew the comics, designed what the characters
looked like, and influenced story lines. Most of the popular
heroes and villains of the time were designed by him.
Kirby’s style is known for his dynamic action, bold
character layout, and thick, simple lines. His art style
soon became the “Marvel Style.” Many artists have been
influenced by his work.

Team Effort
lly illustrates
A team of artists usua
iler draws the
comic books. A penc
us pencils. An
comic pages with vario
pencil lines in ink
inker paints over the
s out on printed
so the artwork stand
add the words,
newspaper. Letterers
the color.
and colorists provide

16
“Kirby Krackles” are the way Jack
Kirby drew energy blasts in comics.
He used circular dabs of ink to create
the look. They are still used today.
o Look at these red Kirby Krackles.
What motion or message does
each one convey to you? Kirby Krackles
o How would you show anger
with your own Kirby Krackle?
Excitement? Surprise?

17
 Character Shift
In 1962, Spider-Man made his debut in the comic
Amazing Fantasy #15. At the time, it was a big risk. The
worry was that readers would not like a nerdy, teenage
superhero who lived with his old aunt. And a spider as a
superhero? Nobody likes spiders.
Spider-Man became popular because of the
character Peter Parker. Peter feels all the pain and
hurt of ordinary people. That’s because he is a normal
person. Then, a radioactive spider bites him. This is
what gives him superhero abilities. At first, Peter does
not even want to be a superhero. But then, a thief kills
his Uncle Ben. This makes Peter decide that he has a
responsibility to protect others from harm.

Nemesis
a nemesis—
Ever y hero must have
ge s the law
someone who challen
pe rh ero is
and order that the su
ee n Goblin
trying to keep. The Gr
sis . He is
is Spider‑Man’s neme o was
bo rn , wh
originally Norman Os He
to Pe ter .
once a father figure
exposed to a
goes crazy when he is
, and he kills
drug he is developing
fri en ds.
one of Peter’s good

18
 But Peter has all kinds of troubles. He always has
to look after his Aunt May. Aunt May has poor health
and does not have much money for medical help.
Peter is not popular. He has a hard time with girls,
especially the beautiful Gwen Stacy. Newspaper editor
J. Jonah Jameson is always trying to blame Spider‑Man
for criminal acts. While Superman is a hero who is
practically perfect and invulnerable, Peter Parker is a
normal person who everyone can relate to.

Typical Teenage Boy

Peter has plenty of love interest
s,
but he’s not always savvy enough
to realize how much someone
likes him. He sometimes behave
s
awkwardly. This is normal, hum
an,
teenage behavior. It’s part of why
Peter Parker helped to create
a new kind of superhero in the
comic world.

19
 Crossing Worlds
In the Silver Age, Marvel Comics® was smashing
the competition. Many Marvel characters had their own
books. But fans loved it when heroes crossed over into
other books. Thus, The Avengers was born. The Avengers
is a team of heroes. They come together to face even bigger
threats than each one faces alone. The first lineup was the
Hulk, Iron Man, Thor, Ant-Man, and the Wasp. In the fourth
issue, Captain America joins the team. He has been leading
newer Avengers teams ever since.

!
Big Movie Business
italized
The movie world has cap
du al cha rac ter’s
on many indivi
ha s als o inc lud ed the
worlds. But it
s of ma ny com bined
crossover world
films that
characters. Fans flock to
ing
showcase these worlds com
w an d exc itin g ways.
together in ne

20
 The Avengers aren’t always buddies, though. There is
a lot of fighting among themselves. The Hulk rarely gets
along with anybody. Captain America is always having
fights with Tony Stark (Iron Man) and Hawkeye about
doing the right thing.
One of the Avengers’ biggest threats is Kang the
Conqueror. Kang first appears in the Fantastic Four but
soon becomes a reoccurring villain for the Avengers. Kang
is a time traveler who rules over ancient Egypt for a time
before being defeated by the Fantastic Four. Kang escapes
and has been wreaking havoc ever since.

Which Team?
There have been many Avengers
teams, including The West Coast
Avengers, The New Avengers, and
even The Dark Avengers. Many
Marvel characters have become part
of the Avengers, including members
of the Fantastic Four.

21
 How to Read and
Collect Comic Books
There are different opinions on how to read and collect comics books.
Here are a few tips to keep in mind.

Bag and Board

Comic books are usually kept in plastic bags with cardboard backs
to keep them safe. But if you bag and board your comics, it takes up
more room in your comic box. Some readers don’t use these and just
carefully put their comics in a box.

Extra Copies?
Some collectors buy two copies of a comic, one to read and one to
put away as an investment. This keeps one copy in mint condition.
Also, sometimes comics have different versions of the same issue.
For example, the same story can have several different covers. It can
be very expensive to buy these variants, but they are usually more
valuable in the long run. Some collectors just buy one copy of a comic
that they actually want to read. This frees up their money for more,
and different, comics.

22
Pulling Titles
Many comic book stores have a “pull” system. This involves making
a list of comics you want to read. Then, the store will set aside new
issues for you before they sell out. This can be a nice convenience, but
keep in mind that you are then obligated to buy the pulled issues. New
comics come out on Wednesdays. Many collectors enjoy showing up to
the store once a week to see what is new, even if they already have a
pull list.

Read or Collect?
Collecting comics can be expensive, and most of the time, it is not
worth the investment. Comic-book paper deteriorates over time unless
you seal it in plastic—but what would be the fun in that? It may be
better to simply buy and read your favorite comics and buy extra copies
of your favorite series or special stories as investments.

23
 0s
fade out back-

Pu n k R o c k 8 ground

The 1980s were influenced by punk rock culture. But

in the ’80s, comics were getting predictable. Most of the
characters had not aged much or changed in 20 years.
Some big changes were about to shake things up!

A Dark Turn
Frank Miller created a special series about Batman
called The Dark Knight Returns. Miller was a fan of
Batman, but he was dissatisfied to find the character had
changed very little in 50 years. Miller wanted something
new, so in his comic, Batman has aged. This brings a
new story to the mix because Batman has to rely on his
wits and experience more than his brawn.
Miller’s comic is darker and more violent than
previous Batman comics. It is aimed at an older
audience—adults who loved Batman as kids. Before
Miller’s comic, many people saw Batman as clean‑cut
and goofy with funny sound effects. Now, Batman
is serious. The story has more mature themes. The
Dark Knight Returns was later made into a graphic
novel, which helped comics first become recognized as
serious literature.
Like Stan Lee, Frank Miller changed the way we
read and think about comics. Today, comics express
great freedom of voice. They can have their own
structure, ideas, and stories.

24
 World
Another any
r made m
Frank Mille e in his
the story lin
changes to things
es. So many
special seri ark
t that The D
are differen n o t co nsidered
rns is
Knight Retu .
DC Universe
part of the

Woman P
ower
In Miller’s T
he Dark Knig
he wrote in ht Returns,
a new Robin
Carrie Kelle named
y. That’s rig
female Rob ht—a
in. The male
presumed d Ro
ead, and Ba bin is
remorseful tman is
for it.

25
 Gen X Influence
During the ’80s, The X-Men grew in popularity. It tells
the story of teenage mutants. They are rejected and feared
because they are different. These mutants might have
special powers, but normal people still bully them. They
are outcasts who want dignity and respect.
During this same time, the character Wolverine hit
stardom. Wolverine plays by his own rules and is almost
as bad as he is good. The idea of an antihero was a hit
with teens.
The two great leaders of the X-Men world were
modeled after acclaimed real-world leaders of the 1960s,
and the characters were meant to offer commentary on
the various social movements for civil rights. Professor
X is the teacher and leader of the X-Men. He feels that
mutants could better help humans. Professor X mirrors the
leadership of Dr. Martin Luther King Jr. His counterpart
and friend is Magneto. Magneto teaches that mutants
should fight against prejudices and inequality. He is, in
some ways, based on Malcolm X.

ntary
Social Comme
always shed
Comic books have
an d social
light on political
es . Even
issues of their tim
pe r comic
humorous newspa
en t on issues.
strips offer comm
e m ain job of
And of course, th
s (fo un d in
editorial cartoon
m ag azines) is
newspapers and
to do exactly that .

26
 Antiheroes such as
me
Wolverine have beco
very po pu lar.

ion
Character Evolut
heroes
Over time, comic-book
ey sh ow deeper
have evolved. Th
ps ych olo gy and
layers of human
lex ch all en ges. Their
face more‑comp
as unworldly
special abilities may be
es, but they
as the original superhero
gly human, and
have become increasin
e.
flawed, at the same tim

27
 The Rise of Indie Comics
The two biggest publishers of comics are Marvel and DC Comics.
There have always been other comic book publishers, though. In
the 1980s, many new comics were created. They were published by
smaller companies. These independent companies are often called
indie publishers.
Dark Horse Comics and Image Comics are two large independent
publishers. Dark Horse published titles such as The Mask and Hellboy.
They also make films and TV shows.
Image Comics was formed by comic-book celebrities that left Marvel.
They wanted to create their own heroes and have creative control
over their comics. Image features many comics that don’t fit into the
superhero mold. The Walking Dead is one of their most popular.

mics
Archie Co at have bee
n
books th
Two comic hie and
years are Arc
around for has been
fact, Archie
Jughead. In are
1942. They
around since mics. Can
y Archie Co
published b re d indie succ
esses?
co n si d e
they b e d and
te ly ! T h e y have existe
Absolu ecades
opular for d
remained p stream pub
lishers.
e th e m a in
outsid

28
Independent Successes
These comics published by independent
companies have been highly successful.
o Teenage Mutant Ninja Turtles published by
Mirage Studios
o The Mask published by Dark Horse
o Next Men published by Dark Horse
o Usagi Yojimbo published by Dark Horse
o Cerebus published by Aardvark-Vanaheim
o Spawn published by Image Comics

29
 h of C o mi c s?
The Deat
The comic industry enjoyed many years of success. But
things changed in the 1990s. People were choosing movies,
television, and video games for entertainment. Fewer and
fewer comics were being bought.

The Collecting Bulge

Collecting comics was still popular in the early ’90s,
though. Comic sales inflated, and Marvel and DC Comics
expanded. The publishers hired many people who didn’t
directly make the comics. In the 1960s, Stan Lee wrote,
edited, and oversaw production. He earned the nickname
Stan “The Man” Lee. By the ’90s, it took many people to
do what Lee had done before. All those extra people had to
be paid.
Publishers tried to increase sales with clever schemes.
Special covers were designed with foil and holograms.
Also, many series were restarted with new number 1 issues.
First‑issue comics are collectible, and this technique helped
to drive up sales. Finally, the same comic was printed with
different cover art, which made collectors want to buy
them all.
These tricks helped increase sales for a little while. But
soon, collectors felt taken advantage of. They could not
keep buying all the special issues. The increased sales
were like a balloon, and that balloon eventually burst.
The world of comics began to crash.

30
 Collector
Woes
Many collecto
rs stopped re
comics. They ading
only bought
collectibles o the books as
r for the trad
toys. Because ing cards or
of
likely to write this, writers were not
good stories
storytelling b , and poor
ecame more
common.

All-Time Record Comic Book Sales

Title Issue Date Cover Price Sold For
Action Comics #1 Jun. 1938 $0.10 $3,207,852.00
Amazing Fantasy #15 Aug. 1962 $0.12 $1,100,000.00
Detective Comics #27 May 1939 $0.10 $1,075,000.00
Batman #1 Spring 1940 $0.10 $567,625.00
X-Men #1 Sept. 1963 $0.12 $492,937.00
Flash Comics #1 Jan. 1940 $0.10 $450,000.00
Tales of Suspense #39 Mar. 1963 $0.12 $375,000.00
Marvel Comics #1 Oct. 1939 $0.10 $350,000.00
Captain America Comics #1 Mar. 1941 $0.10 $343,057.00
Incredible Hulk #1 May 1962 $0.12 $326,000.00
Source: http://itsalljustcomics.com/all-time-record-comic-book-sales/

Pre-bagged?
in plastic
Many comics in the ’90s were sealed
trad ing
bags. The bags often included some
kep t
cards. This increased the price. It also
befo re
readers from previewing the comics
buying them.

31
 Comic Book Celebrities
Sales were driven by artistic style in the early ’90s. This made the artists
into superstars. Several superstar artists wanted control over their
comics. They left Marvel and formed their own studios. Together, the
studios formed a publishing company. They called it Image Comics.

Celebrity Original Work

Artist at Marvel

Todd McFarlane Spider-Man, Hulk

Rob Liefeld X-Force, Cable, Deadpool

Jim Lee X-Men

Erik Larsen Spider-Man

Marc Silvestri X-Men, Wolverine

32
Deadpool and
Cable Live!
Rob Liefeld rose quickly into
comic stardom when he worked
at Marvel. He cocreated Cable and
Deadpool. These two characters
are still very popular. To this day,
Marvel markets them heavily.

New Studio New Comic Title

Todd McFarlane Productions Spawn

Extreme Studios Youngblood

Wildstorm Productions WildC.A.T.S.

Highbrow Entertainment The Savage Dragon

Top Cow Entertainment Cyber Force

33
 The Death of Superman
Just before the comic book crash, Superman fought his
most dangerous foe, Doomsday. This led to his death in
the comic Superman #75 (1992). Doomsday is practically
indestructible. He causes plenty of damage to Metropolis.
Superman, Supergirl, and the Justice League of America
team up to fight him. Lex Luthor is on the scene to disrupt
and sabotage Superman’s efforts. In the end, Superman
gives his life to end Doomsday’s. Superman’s love, Lois
Lane, cradles him in her arms as he dies.
This issue of Superman sold over 2.5 million copies.
That was a huge boost in the number of readers. The death
of Superman was reported in newspapers and on television.
It was talked about for a long time. After Superman’s death,
DC Comics quickly introduced four new comics. They were
spin-offs of Superman. The result was Superman’s return
about a year later.
Many readers were disappointed with DC Comics for
bringing Superman back so quickly. Interest in the comic
waned. Since the death of Superman, readers don’t take the
death of popular heroes seriously. They just assume they
will return when sales are down.

34
 o•• Why is Superman so
important to comics?
o In your opinion, was
the death of Superman
motivated by the story
or money?
o Why might Superman
never really die?

35
 The Comic Book Crash
Many point to the death of Superman as the cause of
the comic book crash. Collectors bought multiple copies of
that issue. They were hoping to sell the copies for a profit.
In fact, many people who didn’t even read comics bought
copies, hoping the value would increase. And some people
knew that rare copies of the first-ever Superman comic
have been sold for millions! They hoped for the same with
Superman #75. But the problem is that the price usually
only goes up when the comic is rare, and Superman #75 is
not rare. In fact, it is the most printed comic ever. When the
value of the comic didn’t rise, collectors became frustrated.

l
t he G r a phic Nove
Rise of literary form
has been on
novel as a waned. Som
e
The graphic ic interest has s
h il e co m mic s. O th er
the rise w e co llections of co h ic
o ve ls ar y gr ap
graphic n es o n th ei r own. Man n
stori and have bee
tell complete li te rary awards
e w o n .
novels hav es and plays
popular movi
turned into

Comics to Toys
Todd McFarlane was one of the most
popular artists. He moved away
from drawing comics and started a
toy company. The company creates
popular action figures based on
comic books and movies.

36
 Readers lost interest in comics. They felt that comics
had become less about the story and more about marketing.
Comics also were not being released regularly due to delays
and missed deadlines. This caused the stories to progress at
painfully slow rates.

Indie for the Win!

ependent comics are
Even after the crash, ind
ators love their work
still doing well. Their cre
Image Comics is a huge
and love telling stories.
r-owned comics, such
supporter of these creato
Dead.
as Saga and The Walking

37
 A re Fo reve r
Comic Books
The comic book crash couldn’t keep comics down for
long. Comic books continue to be printed. Their stories
have been shaped to different media, too.
Comic sales eventually dropped to about a tenth of
what they were in the ’90s. Some consider the industry
to be barely surviving. But the die-hard readers and
collectors continue to buy. And independent comics
continue to tell their stories.

TV Shows
Many popular comic books have been adapted into
successful TV shows over the years. One popular comic
book show is The Incredible Hulk (1978–82). The show
is dramatic and moody. In it, David Banner exposes
himself to radiation. This transforms him into the Hulk.
He becomes the Hulk whenever he is angry.
The show often depicts Banner running
from authorities. He is desperately
trying to cure his condition.
Another notable show made
from comics is Wonder Woman
(1975–79). The show is full of
action and has a fantasy focus.
Its first airing was hugely popular
with both boys and girls. Much like
Captain America, Wonder Woman,
aka Diana Prince, is dressed in the colors
of the American flag. She is equipped
with bulletproof bracelets and a golden
lasso. She even has an invisible jet.
38
DC on TV
am,
Smallville, Arrow, Goth
pe rgi rl are
The Flash, and Su
s th at co me
just a few show
world.
directly from the DC

X-Men: The
Animated S
In the ’90s, an eries
animated show
about the X-Men was made
. It helped boos
popularity of th t the
e comic.

39
 Movies
Comic book movies became more popular with the
1978 movie Superman. Though this was the first Superman
movie to gain major popularity, there have been Superman
movies for a long time—almost since Superman first
appeared in the pages of a comic book! There are sure to be
many more Superman movies in the future.

Comic Movie Reboots

Several popular comics have ma
de
their way into television and
film—many, many times. These
are some of the most popular
series to reboot:
Superman Batman
Spider-Man Fantastic Four
The Avengers X-Men
40
 Comics have flooded movie theatres for decades. But
now their popularity is on the rise, and there is no sign of it
letting up. From Superman to the X-Men to the Avengers,
many kids today have been exposed to comics through
movies. You can usually expect a few comic-book movies
each year.
Is this a coincidence? Well, not really. The explosion of
comic book movies can be explained. Both Marvel and DC
are now owned by large media corporations. Time Warner
owns DC, and Disney owns Marvel. These companies are
in the business of making big entertainment.

eo
n L e e C am
Sta cameo
role
s had a
ha s
ha
Stan Lee rvel movies. It sure
M a b e
in most tradition—so
e a
becom !
for him
to look

Stan Lee

41
 Modern-Day Mythology
Comics tell stories filled with heroes and god-like
characters. They express our need for justice, for survival,
and to fight against evil. Visual stories, such as comics, can
be shared in any country. The images speak in ways beyond
what words can do.
Comics also bring us adventure, mystery, and action.
These are things that many of us lack in our safe, modern
lives. Comics are forms of fantasy fiction and can take
our imaginations further than what we experience in
our everyday lives. Comics also create discussion and
fellowship among fans and friends. They can even teach
us about ourselves.
Telling stories through pictures helps us communicate
when words cannot. We crave heroes who mirror our
convictions and fight for what is right. Comics are exciting
and thoughtful. They offer a modern-day mythology for the
masses. This is why comics have lasted for so many years.

42
Not So Super!
Today, many popular comics do not
include superheroes. Instead, the
central figure is someone who digs into
his or her human abilities to resolve
whatever conflict arises. Those conflicts
may be tragedies, personal turmoil, or
the forces of evil. Some examples of
these modern comic series include The
Walking Dead, Saga, and Star Wars.

43
 Glossary
aka—abbreviation for also mint condition—perfect; not
known as damaged or showing any signs
antagonizes—makes mad or upset of use
antihero—a character who doesn’t mythology—stories meant to
have the usual good qualities of explain things, often in magical
a hero or unscientific ways
atrocities—cruel or terrible acts nemesis—worst enemy
brawn—strength predictable—behaving in a way
cameo—a short appearance that is expected
costumed—wearing a propaganda—messages spread to
special outfit or costume, usually support a cause
representing a character or theme provoked—made mad
debuted—first appeared published—printed book,
depicts—tells or shows magazine, or newspaper
deteriorates (dih-TEER-ee- rare—not common; hard
uhr-ayts)—falls apart; dissolves to find
dynamic—exciting reoccurring—happening often and
in the same way
facets—parts of something
variants—different details;
foe—an enemy
versions
graphic novel—a story of book
vigilante (vij-ih-LAN-tee)—a
length told in comic form
person who is not part of the
holograms—flat images that appear standard legal system who
to be three dimensional punishes criminals on his or
indie publishers—smaller her own
publishing companies
independent of a large company
industry—business
inflated—blown up; gotten bigger
influenced—made an impact
media—methods for sharing news,
such as television, radio, and
magazines

44
Index
Aardvark-Vanaheim, 29 Incredible Hulk, The, Shield, The, 12
Amazing Fantasy,18, 31 31, 38 Shuster, Joe, 8
Ant-Man, 20 indie comics, 28, 37 sidekicks, 10
Archie Comics, 28 Invisible Girl/Woman, Siegel, Jerry, 8
Arrow, 39 15 Silver Age, The, 14,
Avengers, The, 16, Iron Man, 16, 20–21 16, 20
20–21, 40–41 Justice League of Silvestri, Marc, 32
Batman, 10–11, 24–25, America, 34 Smallville, 39
31, 40–41 Kang the Conqueror, 21 Spawn, 29, 33
Cable, 32–33 King, Martin Luther, Spider-Man, 18, 32, 40
Calvin and Hobbes, 7 Jr., 26 Stars and Stripes, 13
Captain America, 12–13, Kirby, Jack, 16–17 Supergirl, 34, 39
20–21, 36–38 Kirby Krackles, 17 Superman, 8–9, 10, 19,
Catwoman, 11 Lane, Lois, 34 34–35, 36, 40–41
Cerebus, 29 Larsen, Erik, 32 Teenage Mutant Ninja
Crimson Avenger, 10 Lee, Jim, 32 Turtles, 29
Cyber Force, 33 Lee, Stan, 14–16, 24, Thor, 20
Dark Avengers, The, 21 30, 41 Time Warner, 41
Dark Horse Comics, Liefeld, Rob, 32–33 Usagi Yojimbo, 29
28–29 Little Nemo in Walking Dead, The, 28,
Dark Knight Returns, Slumberland, 5–6 37, 43
The, 24–25 Luthor, Lex, 34 Wasp, the, 20
Davis, Jim, 6 Magneto, 26 Watterson, Bill, 7
Deadpool, 32–33 Malcolm X, 26 West Coast Avengers,
Detective Comics (DC), Marvel, 16, 20–21, 28, The, 21
10, 25, 28, 30–31, 34, 30–31, 32–33, 41 WildC.A.T.S., 33
39, 41 Mask, The, 28–29 Willie and Joe, 13
Dick Tracy, 5 Mauldin, Bill, 13 Wolverine, 26–27,
Fantastic Four, 14–16, McFarlane, Todd, 31–32
21, 40 32–33, 36 Wonder Woman, 38
Fatman, 10 Miller, Frank, 24–25 X-Force, 32
Flash, The, 31, 39 Mister America, 10 X-Men, the, 16, 26, 32,
Garfield, 6 New Avengers, The, 21 39, 40–41
Gasoline Alley, 5 Next Men, 29 Youngblood, 33
Golden Age, The, 8, 14 Peanuts, 6–7
Gotham, 39 political cartoons, 4
Gotham City, 10–11 Professor X, 26
graphic novel, 24, 36 propaganda, 13
Green Goblin, 18 pull system, 23
Hellboy, 28 Robin the Boy Wonder,
Hulk, the, 16, 20–21, 10, 25
32, 38 Saga, 37, 43
Image Comics, 28–29, Savage Dragon, The, 33
32, 37 Schulz, Charles M., 7 45
 !
Check It Out
Books
Bendis, Brian Michael, Sara Pichelli, Chris Samnee, and
David Marquez. 2015. Miles Morales: Ultimate Spider-
Man Collection Book 1. Marvel.
Gaiman, Neil. 2008. Coraline: The Graphic Novel. Harper
Collins.
Goulart, Ron. 2000. Comic Book Culture: An Illustrated
History. Collectors Press.
Lee, Stan, and Jack Kirby. 2015. Marvel Masterworks:
Fantastic Four, Vol. 1. Marvel.
Lee, Stan, and Jack Kirby. 2015. Marvel Masterworks: The
Amazing Spider-Man, Vol. 1. Marvel.
Miller, Frank. 2016. Batman: The Dark Knight Returns
30th Anniversary Edition. DC Comics.
Schumer, Arlen. 2014. The Silver Age of Comic Book Art.
Archway Publishing.
Videos
Zakarin, Scott. 2002. Stan Lee’s Mutants, Monsters &
Marvels: Creating Spider-Man and Here Come the
Heroes. Sony Pictures/Creative Light, DVD.
Websites
Marvel. http://www.marvel.com/
DC Comics. http://www.dccomics.com/
Comic Book Resources.
http://www.comicbookresources.com/

46
Try It!
Imagine that you’re an up-and-coming comic book
artist. You’ve just been offered a job with a major comic
book publisher to create a brand new comic. POW! You
should get to work. You’ve got some decisions to make:
o Draw a picture or write a description of the
character your comic will be about.
o Decide what kinds of special talents or
powers your character will have.
o Decide what sort of evil villain, mutant, or
enemy your character might be up against.
o Plan some of the things you’ll need
to draw and write your comic book (a
desk, sketching paper, colored pencils, a
storyboard to map out the plot, and so on).
o Think about the backstory for your
character. Is it a normal person with
amazing powers? Is it a funny, quirky
animal who gets into all sorts of trouble?

47
 t he A u t h o rs
A b o ut
David Smith worked in comics in the
early ’90s as a colorist for Extreme
Studios, employed by comic celebrity
Rob Liefeld. He then went on to color
comics independently for Marvel and
DC. He currently teaches digital arts
at the Fashion Institute of Design and
Merchandising, and he creates his own
independent comics.
Jodene Smith has been in education for
over 25 years. She is currently a teacher
in the ABC Unified School District.
She has authored, edited, or managed
hundreds of publications for teachers
and students.
The Smiths have two children and live in
Southern California.

48
 a d e r’s Gu id e
Re
1. Which period of time mentioned in the book
changed comics the most?
2. Page 42 tells readers that comics “can even
teach us about ourselves.” Describe whether
you agree with this statement, using evidence
from the book.
3. Reread the sidebar on page 27 titled “Social
Commentary.” If you were going to write a
story based on a social issue that matters to
you, what would you write about and how
would you address the issue?
4. Spider-Man, Superman, and Wolverine are all
popular heroes, but they are also very different
types of heroes. With which types of heroes
do young readers most closely relate? Explain
your thinking.
 Thank you for purchasing this eBook.

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 History of Comic Books

Focus Objectives
Students will be able to:
• form questions with varying levels of depth to increase
comprehension.
• identify the tone of a passage using the authors’ choice of
words and phrases.

Language Objective
Students will articulate different types of questions using
appropriate vocabulary.

Word Analysis Comparing Sources

• Etymology: Students will explore the origin • Students will find similarities and differences
of the word hologram. when looking at two sources about similar
• Breaking Down Words: Students will examine topics.
and use the prefixes ped– and man– to • History of Comic Books and Another Look at
determine and clarify meanings of words. the Silver Age student activity sheet
• Hands and Feet student activity sheet Quick Writing Prompt
Comprehension • Students will use textual evidence to support
• Model Lesson: Asking Questions: Students their opinions in persuasive writing.
will learn the difference between “thin” and Real-World Connections
“thick” questions and create both kinds.
• Students will create comics based on
• Through Thick and Thin graphic organizer contemporary issues of importance to them.
Close Reading Opportunities to Develop Fluency
• Close-Reading Lesson: Linguistic/Semantic • Students will plan and perform presentations
Filter: Students will analyze the tone within a about the changes in Batman from creation
given passage. to present time.
• Closer Look: The Collecting Bulge
close‑reading passage
• It’s All About the Tone close-reading student
activity sheet

Teacher Created Materials

5301 Oceanus Drive
Huntington Beach, CA 92649‑1030
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TCM 25685 (i13730)
ISBN 978-1-4938-3685-7
© 2016 Teacher Created Materials, Inc.

© Teacher Created Materials 25685 (i13730)—History of Comic Books 1

 History of Comic Books (cont.)

Reader’s Guide Reminder

The Reader’s Guide questions in each book encourage students
to think critically and can serve as class discussion starters.
Suggested answers are provided in the Digital Resources.

Word Analysis
1. Etymology—Remind students that language 2. Breaking Down Words—Tell students they
is something that is alive and always will be working with words having to do
changing. New words are created and added with hands and feet. Write the prefixes ped–/
to languages when they are needed. pod– and man– on the board. Ask students
• Write the word hologram on the board. to generate words beginning with these
Ask students to try to break up the word prefixes. Explain that the letters i and o often
into its two parts (holo– and –gram). Tell connect the prefix to the rest of the word.
students this word was created in 1949 by • Once a few words have been generated
a Hungarian-born English scientist named for each prefix, say, “Using these words as
Dennis Gabor. He invented holograms clues, what do we think the prefix man–
and would eventually win a Nobel Prize means? What about ped–/pod–?” Explain
for his work in 1971. that man– is a prefix that means “hands”
• A hologram is a photograph with and ped–/pod– are prefixes that mean
a pattern that makes it appear “feet.” Using this information, see if more
three‑dimensional when properly lit. The words can be added to the list.
name comes from the Greek word holos, • Say, “Ped– and man– do not have to be
meaning “whole.” (In this case, seeing the at the beginning of a word as a prefix.
“whole” picture.) Gram is from the Greek They can also be in the middle or end of
gramma, meaning “message” or “writing.” a word, like in centipede.” Discuss what a
• Ask students to share their experiences centipede is (a caterpillar-like creature
with holograms. Perhaps they have seen with 100 feet). Continue to brainstorm
them on stickers or cards, on IDs, or ped– and man– words together, but do
even in comic books. If possible, bring not give definitions for any of the words.
in a hologram to show students. Explain • Note: The prefix ped– can also mean
that as technology advances, holograms “boy” or “child” (e.g., pediatrician, a doctor
themselves are becoming three- whose patients are children). If students
dimensional. Discuss the implications give examples of this kind, steer them
of 3-D holograms. For example, medical back to the foot ped–.
students could examine 3-D holograms of • For further practice, have students
anatomy. complete the Hands and Feet student
activity sheet (page 7).

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 History of Comic Books (cont.)

Model Lesson: Asking Questions

Before Reading
1. Model—Say, “When good readers read a and there is more than one correct
new informational text, they often have a lot answer. Lead students in writing other
of questions about what they are reading. thick questions for pages 4–7.
The questions might be about something 2. Guided and Independent Practice—Have
they don’t understand, something they want students think of questions as they read
to learn more about, or something they through the remainder of the book. Remind
disagree with. Thinking of and answering them that asking and answering questions
your questions as you read will make you a helps them comprehend and remember the
better reader.” information better.
• Say, “When reading, there are two main • Distribute the Through Thick and Thin
types of questions—thin questions and activity sheet (page 8).
thick questions. A thin question usually
• Say, “As you read the first section of
has only one answer and the answer can
the book, think of questions you have.
be found in the text. Whereas, a thick
Write one thin and one thick question
question requires the reader to think
for this section.” They can turn their thin
and search, and there are typically many
questions into thick questions, or they
answers. Imagine that I ask a student,
can think of two unrelated questions.
‘What colors do Superman wear?’ The
person answers, ‘He wears red and blue.’ • Have students read pages 8–23. It may
This is a thin question because it has one be helpful to give students sticky notes
answer that requires little thought. Next, I to jot down questions as they read. When
might ask, ‘Why does Superman wear red they have finished reading, they can each
and blue?’ This is a thick question because choose one thin and one thick question
the student must think about the answer to record on the activity sheet.
and there are many possibilities.”
• Read pages 4–7 in the book together. Say,
“As I read this, I am thinking, Why would
people draw political cartoons? I can find
the answer right on the page. The text says English Language Support
that political cartoons were used to draw Clarify the difference between a
attention to injustices or current events. thin question and a thick question
That makes this a thin question.” Allow using examples as needed.
students to think of and share other thin Encourage students to explain why
questions from these pages. a question that has been asked is
• Say, “Now, let’s try to either turn our a thick question or a thin question
thin questions into thick questions or using specific vocabulary and
think of new questions that are thick.” examples from the lesson.
The thin question from above could be
changed into How can a political cartoon
communicate an injustice differently from
a written article? This is a thick question
because it requires much more thought

© Teacher Created Materials 25685 (i13730)—History of Comic Books 3

 History of Comic Books (cont.)

Model Lesson: Asking Questions (cont.)

During Reading
1. Model—Say, “As I read this section, I had
several questions. I wondered why people
needed a hero like Superman, and I found English Language Support
the answer in the text—things were so hard Have struggling students voice
during the Depression, and people wanted questions to you first before writing
hopeful and positive stories. So this is a thin them. Remind them to use deep
question.” question words to create thick
• Say, “As I read about Captain America, questions. If students are still unsure,
I noticed the line about some armies offer them a thin question and see if
being shown as thugs and how that is they can turn it into a thick one.
embarrassing to comic book collectors
now. I thought, Why is that embarrassing?
This answer is not in the text, and I have
After Reading
to use prior knowledge and inferring to
answer it. So this is a thick question.” 1. Model—Say, “Now that I have read the
entire book and written several thin and
• Allow students to share their thin and
thick questions, I can see the strengths and
thick questions. Make sure they also
weaknesses of each kind.” Allow students to
explain how they know what type of
share their thoughts on the advantages and
question each one is.
disadvantages of both kinds of questions.
2. Guided and Independent Practice—Have 2. Guided and Independent Practice—Ask
students read pages 14–23. Again, students students to share a few of their questions
may use sticky notes to brainstorm questions from the last two sections. Choose one
before choosing their thin and thick strong thin question and one strong thick
questions for their activity sheets. question (that are not related) and have
• Facilitate discussion and sharing similar students answer them on the backs of their
to how you did for the first section. Ask activity sheets.
if students found it any easier to think
of thick questions. Say, “Are you noticing
the types of words your thick questions
are beginning with? Has anyone turned a
thin question into a thick question? How
did you do it?”
• Students should read the last two
sections of the book and record their thin
and thick questions.

Assessment Opportunity—
Confirm the questions on students’
activity sheets are following the
parameters of thin and thick.

4 25685 (i13730)—History of Comic Books © Teacher Created Materials

 History of Comic Books (cont.)

Close-Reading:Linguistic/Semantic Filter—Tone
Introduction
1. Distribute the Closer Look: The Collecting 7. After marking each sentence with the
Bulge close-reading passage (page 9). necessary notes, students should look back
2. First Read: Have students read the excerpt at the passage as a whole. Have students try
independently to get the gist of the text. reading sentences to themselves, placing the
After they finish reading independently, ask emphasis on the words they underlined. Ask
students to describe the main ideas found in students what they feel the authors’ attitude is
the passage. toward the subject—this is the tone.
• If any students are having a hard time
3. Direct students to the filter and focus box
organizing their notes, it may be helpful
on the activity sheet. Remind them that the
purpose of a close reading is to read with a to color-code the passage by highlighting
specific filter in mind. each word or phrase that gives readers
a clue about the tone in a different
• Explain that they are going to read with color. That will help them scan the
a linguistic/semantic filter, focusing on passage quickly.
the tone of the passage. In other words,
they will filter everything as they read, 8. Third Read: Have students read the passage
focusing only on the hints and clues the a third time. This time, they will be extremely
authors give about the tone. critical about their notes. Help students
study the notes they marked on their close-
4. Direct students to the driving questions on reading activity sheets to discover larger
the activity sheet and read it aloud: What is trends. Students should record notes about
the tone of this passage? What words give you what they notice in the margins next to the
clues about the tone? These are the questions text. After students have completed their
they need to keep in mind while rereading third reads, ask them to share their answers
the text. to the driving questions. Insist they refer to
5. Remind students that tone is the authors’ and use evidence in their response.
attitude as it is written in a passage. It is not 9. Distribute the It’s All About the Tone student
the reader’s attitude about reading it. Tone activity sheet (page 10). Using their annotated
can be communicated through the authors’ passage to help them, they should answer
word choice and voice, and it is the job of the questions. After a set amount of time,
the reader to pick up on the authors’ clues students compare and share their responses
about tone. with partners.
Activity
6. Second Read: Have students read the
passage again and mark words or phrases
that give clues about the tone with English Language Support
exclamation marks (!). Encourage them to Read sections of the text aloud,
note what tone is being communicated. After giving verbal emphasis to words that
students have finished their second reads, help communicate tone (e.g., “these
they should review their notes. tricks helped increase sales”). Discuss
how emphasis can impact tone.

© Teacher Created Materials 25685 (i13730)—History of Comic Books 5

 History of Comic Books (cont.)

Comparing Sources
Have students read a passage from TIME Edge, Another Look at the Silver Age (page 11), and
compare and contrast it to information given in History of Comic Books. Discussion should
focus on why authors choose one style of writing over another. For more TIME Edge content,
go to timeedge.com to sign up for a 60-day free trial.
Quick Writing Prompt
Have students write persuasive pieces of writing defending their opinions on the following
question: Should comic books be read or only collected? They should use information on pages
22–23 and 30–31 in the reader to help support their opinions.
• Below-grade-level students: Hold a group discussion before the students begin writing
to help them formulate their arguments.
• On-grade-level students: Have them create pieces that clearly identify their opinions
and give at least two supporting details from the text.
• Above-grade-level students: Have them create pieces that clearly identify their opinions
and give supporting details from more than one text.

Real-World Connections Opportunities to Develop Fluency

• On pages 12–13, the book describes • Batman Grows Up—Using the information
how comics can be used to show what is about Batman in the book, have students
happening in real life, like Captain America work in groups to create presentations about
battling Hitler during World War II. Encourage Batman through the years. Pages 10–11 in
students to think about contemporary the book describe Batman when he was
issues of importance to them. Examples first created, while pages 24–25 describe
include animal rights, climate change, war Batman’s later reboot years. Students can
on terrorism, and bullying in school. Have divide the presentations into categories
students create comic strips or comic books such as Bruce Wayne’s age, Batman’s sidekick,
about the issues they choose. Allow students author’s tone, and the hero’s similarities. Allow
to publish and share their comics with time for groups to create their presentations
others. and practice. Students should focus on
speaking with strong expressions—correct
stress and phrasing. Encourage students to
think about which words to stress in each
sentence and really focus on those words.

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Hands and Feet

Directions: Combine the meaning of the prefix and suffix to find each word meaning. Write the letter
of the matching definition in the last column.
Answer Bank
a. a person who sells things by walking from c. the bottom of a tall object or column
place to place
d. a doctor specializing in feet
b. a treatment to improve the health of feet

Suffix meaning Definition

1. pedicure –cure = to take care of

2. pedestal –stal = stall, place, or seat

3. podiatrist –iatrist = physician

4. peddler –er = person who does an action

Directions: Use context clues to write a definition for each word in bold below. Remember that the
prefix man– means “hand.”

5. The art teacher showed me how to manipulate the clay into the shape of a snake.

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6. When the power went out, David had to use a manual can opener.

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Etymology Exploration: hologram

How could a hologram help you learn at school or home?

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 Name: __________________________________________________ Date: _______________________

Through Thick and Thin

Directions: As you read each section of the book, create one thin and one thick question. Remember,
thin questions have only one answer that can be found directly in the text. Thick questions require
deeper thinking and may have multiple correct answers.

Thin question Thick question

pages 8–13

pages 14–23

pages 24–31

pages 32–43

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Closer Look: The Collecting Bulge

Directions: First Read—Read for the gist of the text. Star key words and phrases as you read.
Second Read—Mark words or phrases that establish the writer’s tone with exclamation marks (!).
Third Read—Review and revise to find the best evidence to support the driving questions.

Linguistic/Semantic Filter—Focus on Tone

Driving Questions: What is the tone of this passage? What words give you clues about
the tone?

Margin Notes The Collecting Bulge Margin Notes

Collecting comics was still popular in the early ‘90s,

though. Comic sales inflated, and Marvel and DC Comics
expanded. The publishers hired many people who didn’t
directly make the comics. In the 1960s, Stan Lee wrote,
edited, and oversaw production. He earned the nickname
Stan “The Man” Lee. By the ‘90s, it took many people to do
what Lee had done before. All those extra people had to
be paid.

Publishers tried to increase sales with clever schemes.

Special covers were designed with foil and holograms.
Also, many series were restarted with new number 1
issues. First‑issue comics are collectible, and this
technique helped to drive up sales. Finally, the same
comic was printed with different cover art, which made
collectors want to buy them all.

These tricks helped increase sales for a little while. But

soon, collectors felt taken advantage of. They could not
keep buying all the special issues. The increased sales
were like a balloon, and that balloon eventually burst.

The world of comics began to crash.

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 Name: __________________________________________________ Date: _______________________

It’s All About the Tone

Directions: Use your notes from The Collecting Bulge passage to answer the following questions. Be
sure to include evidence from the text in your responses.

1. According to the text, why did comic prices inflate?

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2. Do you think the authors agreed with the inflated prices? How can you tell? Use examples of
tone from the text to support your answer.

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3. How did the authors insert tone when explaining how publishers increased sales?

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4. Think about this sentence from the passage, placing the emphasis on the underlined word.

These tricks helped increase sales for a little while.

These tricks helped increase sales for a little while.

How is the tone different in these two variations of the same sentence? How does the emphasis
on certain words change the way you may interpret a sentence?
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Another Look at the Silver Age

Directions: Read the following excerpt from the TIME Edge article “Superheroes in the Spotlight” by
Glenn Greenberg. Compare it to the information found in History of Comic Books on pages 14–21.

For several years during the 1950s, superhero comics were not selling
well. But by the early 1960s, things had turned around. At Marvel, editor
and writer Stan Lee teamed up with artists such as Kirby, Steve Ditko, and
Don Heck to create a new universe of characters. In 1962, Lee and Ditko
introduced Spider‑Man, who would eventually become Marvel’s
best‑selling character. Spider-Man was unique in that he was one
of the first teenage superheroes who was not the sidekick of
an adult character. That set him apart from other young crime
fighters like Batman’s partner Robin and Captain America’s
aide Bucky. Around the same time, Lee, with Kirby, Heck, and
writer Larry Lieber, created the armored hero Iron Man. More
new characters would follow from Marvel, DC, and other
companies.

1. In what ways are the two texts similar?

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2. In what ways are the two texts different?

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3. Do the authors share the same perspective on the evolution of comic books? Give evidence
from both texts to support your answer.

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© Teacher Created Materials 25685 (i13730)—History of Comic Books 11

 Answer Key

History of Comic Books

Hands and Feet (page 7)
1.
b
2.
c
3.
d
4.
a
5.
to change something with your hands
6.
powered by hand (instead of with
electricity)
It’s All About the Tone (page 10)
1.
Comic prices inflated because publishers
were paying many people to do the jobs
that used to be done by one person,
Stan Lee.
2.
Answers will vary.
3.
Answers will vary.
4.
The emphasis on tricks makes the
author’s tone opposed to this strategy of
increasing sales. The emphasis on helped
makes the author’s tone in favor of the
strategy.

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