Time Travel Tuesdays - Dr. Wertham Speaks Out on Romance Comics!

Crime and horror comics bore the brunt of Dr. Fredric Wertham's attack, but did you know that he wasn't too keen on romance comics either? Below are a few of my favorite quotations on the love genre from Dr. Wertham's infamous book, Seduction of the Innocent!*

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The experts had said that what the children need is aggression, not affection -- crime, not love. But suddenly the industry converted from blood to kisses. They tooled up the industry for a kind of comic book that hardly existed before, the love-confession type. They began to turn them out quickly and plentifully before their own experts had time to retool for the new production line and write scientific papers proving that what children really needed and wanted -- what their psychological development really called for -- was after all not murder, but love! (p. 37)

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In many of them, in complete contrast to the previous teen-age group, sexual relations are assumed to have taken place in the background. Just as the crime-comics formula requires a violent ending, so the love-comics formula demands that the story end
with reconciliation. (p. 38)

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Studying these love-confession books is even more tedious than studying the usual crime comic books. You have to wade through all the mushiness, the false sentiments, the social hypocrisy, the titillation, the cheapness. (p. 38)

Fawcett
"Trail to Romance"
Cowboy Love #10
(June 1950)

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It is a mistake to think that love comics are read only by adolescent and older children. They are read by very young children as well. An eight-year-old girl living in a very comfortable environment on Long Island said, "I have lots of friends and we buy about one comic book a week and then we exchange. I can read about ten a day. I like to read the comic books about love because when I go to sleep at night I love to dream about love." (p. 39)

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Flooding the market with love-confession comics was so successful in diverting attention from crime comic books that it has been entirely overlooked that many of them really are crime comic books, with a seasoning of love added. Unless the love comics are sprinkled with some crime they do not sell. Apparently love does not pay. (p. 40)

Ace
"Impulsive!"
Love Experiences #18
(April 1953)

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False stereotypes of race prejudice exist also in the "love comics." Children can usually pick the unsatisfactory lover just by his looks. (p. 105)

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Love comics do harm in the sphere of taste, esthetics, ethics and human relations. The plots are stereotyped, banal, cheap. Whereas in crime comics the situation is boy meets girl, boy beats girl; in love comics it is boy meets girl, boy cheats girl -- or vice versa. (p. 185)

Fox
"Quicksand Romance"
My Secret Life #25
(January 1950)

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I wonder if Dr. Wertham ever read any post-Code romance comics? I think he would have rather liked their wholesome nature!

*All quotations from Frederic Wertham, M.D.'s Seduction of the Innocent. New York: Rinehart, 1954. Reprint, New York: Main Road Books, Inc., 2004.

Demographics of Romance Comic Book Readers

The first romance comic, Young Romance #1 (September/October 1947) clearly stated across its cover -- Designed For the More Adult Readers of Comics. Early stories such as last month's "Nightmare Romance!" demonstrated the adult nature of the love comics. As the 1960s and '70s wore on (thanks largely in part to the Comics Code Authority) it became apparent that the romance comics were written for a younger audience. Though I have never found an official statement from any of the comic book publishers as far as their target demographic, I think it is safe to say that they were aiming at a readership of around ages 12 years to early 20s.

A few weeks ago as I was flipping through Young Love #53 (January/February 1966), I came across this letter addressed to the "As Jane Ford Sees It..." advice column. Interestingly, the reader monikered "Worried" was only 9 (and one half) years old -- making her quite a bit younger than the 12+ target demographic.

I am sure "Worried" was not alone

and that many a mid-century little sister
borrowed big sis's comic book!

Time Travel Tuesdays - Pre-Code Romance Comics Romantic Love's "Nightmare Romance!"

Today's Time Travel story "Nightmare Romance!" comes from 1951 -- before the comic book industry started to self-regulate with the Comics Magazine Association of America's Comics Code Authority. As such, this story from Avon's Romantic Love #7 (September/October 1951) with art by Marion Sitton, is quite scandalous! No slumber parties or football games here!

We are introduced to Fran Edwards as she heals in a hospital, complete with a guard outside her door. She reminisces for us on what got her in the whole mess in the first place. As the proprietor of a successful modeling agency, she was looking for a man to assist with the agency job placements.


Fran ends up hiring Wayde Hanley -- a handsome and smooth talking applicant. Fran quickly falls head over heels in love with him.


Wayde seems to be doing a swell job at the agency, until he starts bringing "younger and cruder" girls in to model -- Gloria Porter being one of them. Fran starts to get suspicious of Wayde's intentions when one of the models mysteriously disappears. Wayde admits to running a scheme to steal money from businessmen with the aid of Gloria and the other model recruits. If the models asked to participate refuse, they are quickly done away with.

At first, Fran wants to go to the police, but Wayde convinces her to keep quiet and the rewards will be theirs to reap. She agrees, but is shaken when the agency auditor finds severe and purposeful errors on their tax returns. Wayde tries to smooth things over, but Fran insists they give the scheme up. Wayde promises they only need to do a few more jobs.

One evening, Fran heads back to the office after hours to finish up some work. She is shocked to find Gloria and Wayde engaged in an embrace with Gloria suggesting they poison her. Fran realizes what a fool she has been to go along with things and decides she must go to the police.

The District Attorney decides to send Officer Mary Nichols undercover as one of the "party girls." After two weeks of infiltration, Officer Mary is finally assigned to attend a party for a group of wealthy cattlemen. Wayde promises her there will be at least $1000 in it for each of the girls.


The party ensues and Wayde and Fran wait anxiously at her apartment. Suddenly, the phone rings. Gloria frantically tells Wayde that Mary was an undercover cop and Fran knew all along. Gloria manages to escape during the raid, and heads over to Fran's -- just in time to stop Wayde from beating the pulp out of her.


Suddenly, Officer Mary bursts onto the scene. Wayde produces a gun and tries to shoot the lady cop, but Fran flies in front of her and takes the shot. As Fran crumples to the ground, two other officers appear and shoot and kill Wayde. Gloria is carted off and Officer Mary is thankful that Fran saved her life. Relieved the ordeal is over, Fran is happy to repent for her sins of lust and passion. As she waits in the ambulance, Fran asks for God's forgiveness.


Pretty crazy story, no?! Party girls, guns, and cleavage, oh my! Very different from the romance comic book stories of the 1960s and '70s! Which do you prefer? The wide-eyed innocence of the post-Code period or stories à la "Nightmare Romance!"?

Romance Under the Covers - Love Stories #149 (March/April 1973)

I hope you all had an enjoyable holiday! I know I did, but at the same time, I was anxious to get back to reading comics! Today I have for you the third issue in DC's brief series, Love Stories (March/April 1973). This issue has a very groovy and provocative cover -- though it is one of those covers that is a tad misleading. Let's just say that what appears to be going on in the cover image does not happen in the corresponding interior story, "Man Shy." While the activities of the cover image would have made for an interesting romance story -- the "Marriage and Sex" clause of the Comics Code of 1971 probably would have frowned on anything more seductive than the innocent cover scene!*

The art on this first story looks to me a bit like the art from a story I blogged last month, "Too Tall to Love." It was discussed in the comments of that post that Jack Katz was likely responsible for the pencils, and Mike Esposito for the inks. "Man Shy" looks to me to be the work of a similar (if not the same) creative team. In it, miniskirt-donning Holly warns other girls to avoid her mistake of being terrified of love.


In a desperate bid to change her spinster fate, Holly attends an "Encounter Group" session -- a type of group psychotherapy popular during the '60s and '70s. There she meets an equally shy guy named Jeff, who instantly puts her at ease. As they continue to go on dates with each other, Holly begins to feel herself changing and truly coming out of her shell. Jeff, however; remains timid and unable to convey his admiration for her without chickening out.


When Jeff finally declares his love for her and proposes marriage, Holly declines. She cites her new lease on life, "...I've changed. I'm not what I was when we met." But her sentiments aren't enough to stop Jeff from pursuing her.


While Jeff continues to try to ask Holly out, she becomes quite extroverted and popular -- opening up many avenues and opportunities for fantastic dates with interesting young men. Though she is having a blast playing the field, it appears she secretly pines for Jeff. One night, at a dance, Jeff meekly tries to make a move on Holly and she snaps at him for being so continually apprehensive. Apparently, Jeff received the message and stops pursuing Holly, much to her dismay. In an effort to rebuild their relationship, Holly returns to where it all started and is received with open palms by Jeff.


I found the next story, "His Other Wife!" (with pencils that look to be by Mike Sekowsky) enjoyable primarily because it is a sort of throwback to the old Western Romances that were so briefly popular in the late '40s and early '50s. Carol, a very cosmopolitan young woman accustomed to her urban lifestyle in New York City loves Jason. Jason is handsome and successful, but there are two problems Carol sees in marrying him. For one, he wants to move her out of the city and onto a ranch he has purchased.


The other thing standing in the way of marital bliss is the memory of Jason's recently departed wife, Susan.


Carol had always felt some jealousy towards Susan and after her death it was no different. Even as Jason and Carol grew close, Carol always felt that Jason would never love her as much as he had loved Susan.


Despite her anxieties and fears of measuring up, Carol married Jason -- in one of the sassiest wedding gowns I have ever seen and Go-go boots, no less!


After the wedding, Jason sweeps Carol off of her feet and carries her over the threshold of their new home on their new country ranch. However, the euphoric state of newlywed-hood is short-lived as Jason works harder on running the ranch than on their marriage.


Jason's days consist primarily of sleeping, tending to the cattle, working on the ranch's finances, and ordering Carol around. Resentment creeps in. Carol realizes that not only does Jason treat her like a workhorse, but he treats her far differently than the pampered Susan.


Efforts on Carol's behalf to discuss her feelings are consistently shot down and she sees no other choice than to leave Jason and head back to New York City. Carol's plan to run off is terminated when she notices it is snowing. The realization that the entire herd on the ranch is in great peril is enough to convince her to return.


All through the night and what eventually turned into three days, Carol helps Jason and the hired-hands in bringing the cattle out of the snow drifts to ensure their survival. Once the heard is safe and the snow ends, Carol and Jason have the awkward task of confronting each other about why Carol was leaving him. She asks him why he doesn't love her as much as he loved Susan, and he explains that he loves her in a different way. He declares his admiration for her strength and courage. Needing no more words, the two embrace against the snowy backdrop of the ranch.


The final story in this issue is an Art Saaf drawn tale titled, "Pretty Chick!" Marcia works at a car hop. One evening while on duty, she is surprised by the presence of the very famous actor, Sean Saunders.


Sean says he is passing through and she caught his eye. He apparently wants some company for the evening, but doesn't want his reputation sullied by "making it with some unknown smalltown chick." He has his friend Mike pretend that he is the one on a date with Marcia.


Marcia is troubled not only by the fact that Sean doesn't want to be seen with her, but that he is so rude and bossy towards Mike. As it turns out, Sean and Mike aren't friends at all. Mike was an out of work actor and now works for Sean as a "Beard."


When Sean asks Mike to fetch him another woman, Mike tells him to buzz off. In the end, it is Mike who Marcia falls for -- not the self-absorbed famous actor!


To wrap things up, here is another installment of "Like It Is!" with advice columnist, Donna Fayne!


Well, friends -- that is all from me for 2010! I hope you enjoyed this issue of Love Stories! I will be back in 2011 (aka Monday, January 3rd) with a brand new year of romance comic book goodness! I have some really great things planned for January, including a giveaway and a new monthly feature, so I hope that you will join me!!!

Happy New Year!!!

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* Whether the Code was abided by at this time or not, technically, under the "Marriage and Sex" section of the 1971 rewrite of the original Comics Code, the following points were expected to be adhered to:

1. Divorce shall not be treated humorously or represented as desirable.
2. Illicit sex relations are not to be portrayed and sexual abnormalities are unacceptable.
3. All situations dealing with the family unit should have as their ultimate goal the protection of the children and family life. In no way shall the breaking of the moral code be depicted as rewarding.
4. Rape shall never be shown or suggested. Seduction may not be shown.
5. Sex perversion or any inference to same is strictly forbidden.