John L. Goldwater

In his introduction, Comics Magazine Association of America president and Archie Comics founder John L. Goldwater argues that the Code “has provided a stimulus for creative and responsible thinking and activity among publishers and editors, writers and artists. It brought with it a challenge to create magazines and stories that are interesting, exciting, colorful within the framework of the Code. It stimulated the inclusion of additional educational and character-building material in many comics magazines, not the least of which has been the inclusion of stories dealing with contemporary social problems, such as, race relations, pollution, women’s rights, the dangers of drug addiction” (pg. 6). This last references a story originally printed in Amazing Spider-Man nos. 96-98, which covered drug addiction at the request of the Department of Health, Education, and Welfare, and which the Comics Code Authority initially rejected until after Marvel received positive press for publishing without the seal of approval.

Like the original 1964 edition of this book, Goldwater structures his work into four main chapters: one on the form and history of comics magazines, which cites Coulton Waugh’s 1947 book, The Comics, as well as literary studies; a discussion of the Comics Code Authority and its operation; an assertion of the educational value of Code-Approved comics; and a conclusion about “Self-Regulation – The Proved Solution” (pg. 3). One change in his history of comic books discusses the rise in college aged readers, as Goldwater writes, “In recent years, broad readership has developed among college students. Comics Fan Clubs exist on many campuses. Current sales of comics magazines average about 300 million annually. The fact that there is a ‘pass-on’ readership of at least three of each copy sold indicates the scope and immense popularity of the medium” (pg. 9).

Discussing the Comics Code Authority and changes to the Code, Goldwater writes, “Since its original adoption in 1954, the Code has been revised just once, in 1974, to meet contemporary standards of conduct. It remains, however, the most stringent set of principles for any communications media in use today” (pg. 19). He continues, “Mystery, the macabre, suspense, always a popular area, has in recent years become even more popular through its exposure on move screens and in paperback novels. As a result, youngsters, as well as adults, having become familiar with them can enjoy the thrilling impact of such themes without the alleged trauma, attributed to such exposure at the time the Code was originally adopted. Therefore, in its revisions in 1971, the Code permitted the use of vampires or werewolves, when handled in the classic tradition such as Frankenstein and Dracula” (pg. 20).

Turning to the education values of Code-Approved comics, Goldwater writes, “The acceptance of the comics magazine as an educational resource has grown remarkably since the Code was adopted. Many colleges and high schools today give courses on comics, and industry people are frequently invited to lecture at institutions of learning…The Library of Congress, which has the largest collection of comics magazines in the world, has similarly exhibited comics, as did Yale University” (pg. 26). Like the 1964 volume, Goldwater cites studies from Dr. Irving D. Lorge (Teachers College of Columbia University), Dr. Robert L. Thorndike, and Dr. Katherine H. Hutchinson (University of Pittsburgh), among others.

In his final section, Goldwater writes, “Changing community attitudes or experience in the code operation may cause some changes in code provisions, as was done in 1971, or variation in the interpretation of a particular provision, but these have not been of a fundamental character” (pg. 33). Just as in the previous edition, Goldwater draws parallels between the success of the Comics Code and the Motion Picture Production Code, which ironically ended four years after the publication of this volume. Goldwater concludes his discussion of the Comics Magazine Association of America’s success with references to praise the group received from the Chamber of Commerce of the United States and from the White House Conference on Children and Youth in 1960 as well as various local and religious groups.… (altro)

Discussing the effectiveness of the first decade of the Comic Code, Comics Magazine Association of America and Archie Comics founder John L. Goldwater writes, “It brought with it a challenge to create magazines and stories that are interesting, exciting, colorful within the framework of the Code. It stimulated the inclusion of additional educational and character-building features in many comics magazines. The net result has been that comics magazines compare most favorably with all other media competing for the attention of young people” (pg. 8). In this, Goldwater continues to assert that the comic book medium was primarily for children while simultaneously arguing for its legitimacy as a valuable form of entertainment. Discussing the material in comic books, Goldwater argues that they “cover all interests and all age-groups… Some are geared to the very young, others to the teenagers’ specific interests and sense of humor; some for female audiences, with heavy emphasis on fashions or romance; many are directed at a boy’s love of action and adventure” (pg. 12). His generalizations about the gendered nature of readership notwithstanding, Goldwater does acknowledge that readership knows no boundaries of age or gender, continuing, “Youngsters, and adults as well, enjoy comics” (pg. 13).

Goldwater structures his book into four main chapters: one on the form and history of comics magazines, which cites Coulton Waugh’s 1947 book, The Comics, as well as literary studies; a discussion of the Comics Code Authority and its operation; an assertion of the educational value of Code-Approved comics; and a conclusion about “Self-Regulation – The Proved Solution” (pg. 41). The book concludes with the Code of the Comics Magazine Association of America. Goldwater discusses the Code’s impact on the comic book industry, writing, “The importance of ascertaining that the Code Authority’s seal is on the cover of the comics magazine cannot be over-emphasized. Its presences is not only a guarantee against the infiltration of objectionable material in that particular book, but insistence upon it by the public is the ultimate insurance for the perpetuation of the high standards which the seal represents” (pgs. 28-29). In discussing comic books’ educational use, Goldwater cites studies from Dr. Irving D. Lorge (Teachers College of Columbia University), Dr. Robert L. Thorndike, and Dr. Katherine H. Hutchinson (University of Pittsburgh), among others. Discussing self-regulation, Goldwater likely references Supreme Court rulings such as Roth v. United States (1957) and Jacobellis v. Ohio (1964) when he writes, “Whatever meager protection there may have been through legislation prior to these rulings, today, except where sheer obscenity is involved, there can be no legal regulation of communications media except through voluntary self-regulation. There is no substitute” (pg. 42). He also draws parallels between the success of the Comics Code and the Motion Picture Production Code, which ironically ended four years after the publication of this volume. Goldwater concludes his discussion of the Comics Magazine Association of America’s success with references to praise the group received from the Chamber of Commerce of the United States and from the White House Conference on Children and Youth in 1960 as well as various local and religious groups.… (altro)

A collection of the first few dozen "Archie" comics, from 1941 to 1943. The first issue features Archie, Betty and Jughead, with Veronica, Reggie Mantle, Mr. Weatherbee, Miss Grundy and the rest of the crew appearing later in the book. I enjoy the series more as it heads into the 1950s and 1960s; the art and storylines are a little primitive here by comparison. But they do exhibit considerable naive charm, and set the tone for the more successful later stories. Nicely reprinted, and in color! I think the artwork is all Bob Montana, and probably most of the writing is his.… (altro)