By Evan Henry
When the “Marvel Age of comics” dawned in the early 1960s, the era of the Cuban Missile Crisis and Tsar Bomba, many of the new slew of superheroes embodied a politicized mutagenic anxiety surrounding the very real possibility of nuclear conflict. Throughout the decade, Lee, Kirby, Ditko, Heck, and others illustrated a bewildering array of physical monstrosities and curiosities…
Launched in 1979, digest-sized monthly comic Starblazer was Scottish publisher DC Thomson’s attempt to cash in on the science fiction craze that had dominated popular culture since the release of Star Wars. Every aspect of the visual media landscape was saturated with trippy, futuristic imagery, triggering a commercial feeding frenzy in which normally staid companies like DC Thomson were eager to participate…
A little over thirty years ago, Neil Gaiman and Dave McKean’s Black Orchid limited series landed in comic shops. Gaiman, in the late 1980s probably known best for his history of Douglas Adams’s Hitchhiker’s Guide series (Don’t Panic), and his novelistic collaboration with Discworld creator Terry Pratchett…
As anyone who’s been online in more than a passing way over the past decade can tell you, we live in an era where facts in the public sphere often fall victim to wishful lies concocted by powerful individuals with naked political agendas.
The number of cruise passengers worldwide increased from half a million in 1970 to 3.8 million in 1990, the hike almost exclusively thanks to Aaron Spelling’s The Love Boat (1977-1986), a one-hour dramatic fantasy that portrayed a relatively diverse, generally middle-class group of passengers and the close-knit crew that tended to them (and often cavorted with them) during the voyage…
A potent ingredient of the “You’ve never had it so good” mindset of post-post-war Britain was the modern holiday. Traditionally, the British industrial working- and lower-middle-classes had spent what holidays they’d managed to prise out of the generous fists of their employers in one of the many resorts dotted along the island’s coast…
I suppose I could go off on a rant here, as I usually do, about The Things We Have Lost, but I won’t. To quote the title of a Jacques Barzun book that I discovered (and subsequently bought) while browsing a bookstore, we get the culture we deserve…
Four years after the release of Raymond Briggs’ When the Wind Blows, children in the British Isles were treated to another misleadingly cheerful-looking jaunt through a postlapsarian landscape in Graham Oakley’s 1986 book Henry’s Quest. I’ve spoken elsewhere about the extent to which the British culture of the 1970s and ’80s seemed determined to inculcate feelings of dread and hopelessness in young people, but with its superficially light-hearted tone, Henry’s Quest took a different approach…
Veteran comics writer Larry Hama is best known for his work on Marvel’s G.I. Joe franchise, where he took what could have been a cynical toy line marketing tie-in and created a dynamic and hugely popular universe where salty commandos do battle with snake-themed terrorists in a neverending covert ouroboros of action…
In the almost-two decades between Blade Runner (1982) and The Matrix (1999), a particular form of cyberpunk existed across various medias. It was an era in which William Gibson and Bruce Sterling novels reigned supreme, Max Headroom was on the air in America, while the Bubblegum Crisis anime was being produced in Japan…
